HISTORICAL RELEASE OF ALL NATIONAL ROCK, MPB AND BOLSA NOVA BANDS BY ROBERTO BARROS

I want to say here with a lot of deep love in beautiful words that national music reveals what we are because its lyrics can formalize us under our dilemmas that we trace in full life that has in our soul a little piece of Brazil in which national rock is made under a genuineness more focused on the daily life of young Brazilians who spend their teens as a film more focused on their lives, we simplify a list of facts and ideas that makes us react under a fearless fantastic desire where all unmotivated stories of dreams are described between beautiful fantasies we look for answers from the past to the future in which we are simplified by a harmony that applies humor, character, love, hate, fear, adventure in all the shades that life proposes to us under an ego of happy living in which we it implies resuscitating under the old and restless foolishness of the youth that teaches us to live and we need to improve the old republic that may be a little alienated with its desires. developments that excite us to prescribe in lyrics some reforms that maybe rock can console us because Brazil needs to grow together with the people who love their rights and that music can unite and change great generations facilitating the progress and growth of the youth it made Brazil grew and united all classes under a popular right to conquer life and thus we became more Brazilians and let's talk about the new scholarship that showed the fundamental origin of our Brazilian people that sprouted like a seed under several Brazilian states and made us understand the realistic and cultural work of the Brazilian who was born between rivers and navigating seas that today are Portuguese stories that colonized our Brazil and Throughout the 19th and 20th centuries, the Portuguese constituted the overwhelming majority of immigrants in the city of Rio de Janeiro. Distributed throughout the city, they dominated certain occupational segments, with great emphasis on retail trade and food sales.

The city is officially mentioned for the first time when the second Portuguese exploratory expedition, led by Gaspar Lemos, arrived in January 1502 at the bay, which the navigator understandably assumed was the mouth of a river, hence giving the name to the region of Rio de Janeiro that today is called the wonderful city where the new bag was born, Bossa nova is the term by which a movement to renew samba radiated from the South Zone of the city of Rio de Janeiro at the end of the decade became known. 1950 and which, therefore, came to give its name to the style of interpretation and rhythmic accompaniment it emerged, which became known as "different beat"

I want to say here with a lot of deep love in beautiful words that national music reveals to us what we are because its lyrics can formalize us under our dilemmas that we trace in full life that has in the soul a little piece of Brazil where rock is made, samba, MPB, the old new bag and everything simplifies an intimate and deep interaction with our people who grew up in a republican country that we also know as a natural wonderland where we won't change the music without sounding. an artist who loves his country, who grew up in it and will die happy simply for the way he is Brazilian and feel happy and the melody can tell us even in full emptiness the best value of things exists and that we must always deeply love the soft side of life that stands out under a relativity of life and thus we become Brazilians!

Barão Vermelho is a Brazilian rock band founded in 1981, in the city of Rio de Janeiro, Brazil. Along with Legião Urbana, Paralamas do Sucesso e os Titãs is considered one of the four most influential Brazilian bands founded in the 1980s.

Story

The Beginning (1981-1982)

After watching a concert by the band Queen at Morumbi, in São Paulo, the desire arose in Guto Goffi (Flávio Augusto Goffi Marquesini), drums, and Maurício Barros (Maurício Carvalho de Barros), keyboard, 19 and 17 years old respectively , to form a rock band. In October 1981, the two students from Colégio da Imaculada Conceição, in Rio de Janeiro, chose the name: Guto suggested it and Maurício agreed that the band would use the code name of the German aviator Manfred von Richthofen, main enemy of the Allies in the First War: Baron Red. Days later, the duo joined Dé (André Palmeira Cunha), bass, and Frejat (Roberto Frejat), guitar. The rehearsals always took place at Maurício's parents' house and, as the band still didn't have a vocalist, through a friend from school, Guto got in touch with a vocalist named Léo Guanabara (who came to be known as Leo Jaime). However, his voice timbre was considered too soft for the band's rock, causing its members to disapprove of it. Leo Jaime was not upset by this, as he was already part of three bands (among them João Penca and Seus Miquinhos Amestrados), and he nominated Cazuza (Agenor de Miranda Araújo Neto). The Red Baron was then complete.

Red Baron and Red Baron 2 (1982-1984)

In 1982, the sound of Barão Vermelho, released in stores on September 27, spread a bit and pleased producer Ezequiel Neves (José Ezequiel Moreira Neves, journalist) and Som Livre director Guto Graça Mello. Together, they launched the band and, with a very cheap production, in four days, Barão's first album was recorded: "Barão Vermelho". Of the most important songs, "Bilhetinho Azul", "Todo Amor Que Hár Nessa Vida", "Ponto Fraco" and "Down Em Mim" stand out. After some shows in Rio de Janeiro and São Paulo, the band returned to the studio, now for a whole month, and recorded the LP "Barão Vermelho 2", released in 1983.

Largest Abandoned and Rock In Rio (1984-1985)

Although the quintet could be promising, radio stations did not think so, and refused to play their songs. Only after Ney Matogrosso recorded "Pro Dia Nascer Feliz" did the radios start playing the original version of Barão Vermelho. At the same time, Caetano Veloso recognized Cazuza as a great poet and included the song "All love that exists in this life" in the repertoire of his show. The band began to have the prominence it deserved, the repercussion was so great, that they were invited to compose the soundtrack for the film Bete Balanço, by Lael Rodrigues, in 1984, and their sound spread throughout Brazil. Taking advantage of the momentum, the group released their third album, Maior Abandonado, in 1984, managing to sell more than 100,000 copies in just six months.

In 1984, Barão Vermelho played with the Brazilian Symphonic Orchestra, and in 1985, he was invited to open Rock in Rio's international shows. After so much success, it was clear to everyone that the band's career was consolidated.

Without Cazuza and Volta ao Sucesso (1985-2001)

Cazuza had already expressed his desire to do solo work, and was supported by Frejat, as long as he didn't leave the band for that. The departure, however, first announced to the public at the end of a show, was disturbed, causing a rupture in the strong friendship that united Cazuza and Frejat and that was only reconciled years later. With the departure, Cazuza still took some songs with him for his first solo album. The band excelled, releasing the song "Torre de Babel", now with Frejat on vocals.

In 1986, they released their fourth album —"Declare Guerra"— and, although the compositions had the help of big names such as Renato Russo and Arnaldo Antunes, the album was not promoted much (even because Cazuza was the son of the president of Som Free, which generated a conflict of interests behind the scenes, although not on the part of the musicians). The band then, feeling abandoned, signed a contract with Warner and, in 1987, released the album Rock'n Geral, which had the most active participation of the other members in the compositions. Although the record received good reviews, it did not sell more than 15,000 copies. In the same year, Maurício left the band, and guitarist Fernando Magalhães and percussionist Peninha joined.

With only three of the original members, the band released, in 1988, the album Carnaval, mixing heavy rock and romantic lyrics. The album hit the radio with the song "Pense e Dance", from the soap opera "Vale Tudo", by Gilberto Braga, and was an absolute success, guaranteeing Barão Vermelho the opportunity to open Rod Stewart's tour in Brazil. In the following year, 1989, with still high popularity, Barão released the seventh album Barão ao Vivo, recorded in São Paulo, and, in that same year, the Som Livre label released the compilation "The best moments of Cazuza eo Barão Red", including several hits such as "Pro day to be born happy", "Bete Balanço" and many others. This album also has several rarities, such as the song "Eclipse Oculto" (unpublished) and "I wanted to have a bomb", a song that was only found on the national soundtrack of the soap opera "A gata comeu", shown in 1985.

In 1990, after constant disagreements, bassist Dé left the band, giving way to Dadi, former member of "Novos Baianos" and "A Cor do Som". At the same time, Maurício Barros returns to the band's keyboards. Also in that year, Barão recorded the album Na Calada da Noite, showing the group's more acoustic side. The song "O Poeta está Vivo" is on this album; an allusion to Cazuza, who would die a few months later from complications caused by the AIDS virus.

Still in 1990, all members of the band are appointed as the best in their categories, and in 1991, the band is chosen, by unanimous public and critics by Bizz magazine, as the best band of the year. In 91 and 92, the Red Baron receives the Sharp Award for best rock group, and, still in 92, they are elected as the best band in Hollywood Rock that year. Bassist Dadi was then replaced by Rodrigo Santos.

In 2001, after performing at Rock in Rio 3 Por Um Mundo Melhor, the members decided to take a "break" from the band in order to develop personal projects.

Return (2004-2007)

Red Baron 2017 - Photo: Luís Parente

In 2004, Barão Vermelho got together again and released an album of the same name, with pure rock'n'roll from the beginning of his career, including hits like "Cuidado" and "A Chave da Porta da Frente".

In August 2005, the band recorded the first DVD of their career. Recorded at Circo Voador, MTV live - Barão Vermelho had some hits such as the unreleased "O Nosso Mundo" and the re-recording of "Codinome Beija-Flor", with the inclusion of Cazuza's voice on the big screen of the show. The album was successful and ensured another gold record for the band.

After a 2-year tour, on January 12, 2007, the band plays their last show in Rio de Janeiro, before a new "vacation" stop - the second in the decade. Its members began to dedicate themselves to solo projects. Before the second stop, the band released a book about their career and a DVD with the historic show at Rock in Rio I.

30 Years of Career, commemorative tour and the death of Peninha (2012-2016)

In 2012, Frejat and Rodrigo Santos confirmed through interviews and on social media the band's second return after 5 years. The meeting was a celebration of the group's 30-year career and the release of their first album. In addition to the celebrations with a tour for six months, there was the re-release of the album Barão Vermelho, recorded in 1982, remixed and remastered, with bonus tracks, rarities and an unprecedented song. The show had the bassist Dé Palmeira as a special guest. At that time, a new show was planned in partnership with MTV Brasil, with live transmission directly from Praia do Arpoador, in Rio de Janeiro and a documentary, telling the group's history, something that did not happen. After these events, the band went into recess again, starting in March 2013, with no return forecast.

Three years after the last meeting, on September 19, 2016, percussionist Peninha died from a stomach hemorrhage. The musician had been hospitalized at the Hospital da Lagoa, in the south of Rio de Janeiro since the beginning of the month, with digestive problems.

Return without Frejat (2017-currently)

On January 17, 2017, the band announced their official return to the stage, however, without the participation of Roberto Frejat. In his place, comes the singer and guitarist Rodrigo Nogueira, also known as Rodrigo Suricato, leader of the band Suricato, revealed in the talent show Superstar, on Rede Globo, in 2014. Frejat also stated that he currently has no professional interests with the group and that intended to reunite with Barão when the band completed 40 years of existence in 2021, but this was not in the plans of the other members, who decided to return to the stage with the new singer. The band also released the planned documentary in 2013, entitled Because we are like this, directed by filmmaker Mini Kerti. The feature film closes the Frejat cycle in the group. In November 2017, bassist and occasional vocalist Rodrigo Santos leaves the band to dedicate himself exclusively to his personal projects.

Movie theater

The Barão had a participation in cinema in 1984 with the film Bete Balanço, where Cazuza (still vocalist at the time) composed the theme music of the film, both playing themselves, and Cazuza playing Tininho, a composer.

Blitz is a Brazilian rock band. It is one of the precursors of the so-called "BRock" band. The group was formed in the city of Rio de Janeiro in 1982. Originally it was formed by Evandro Mesquita (vocals and guitar), Fernanda Abreu (backing vocals), Marcia Bulcão (backing vocals), Ricardo Barreto (guitar), Antônio Pedro Fortuna (bass), Billy Forghieri (keyboards) and Lobão (drums).

Career

1981–83: The Adventures of Blitz and Radioactivity

In early 1981 Evandro Mesquita and Lobão were invited by Mauro Taubman, owner of Company brand to hit the Caribbean, bar the businessman was inaugurated in São Conrado edge Although at the time touched only by hobby, both accepted and recruited musician friends to make the presentation at the bar's debut, on February 21st, generating great repercussion in the place, which led to a series of other presentations with a rotation of guest musicians, keeping only the two fixed. Seeking to become a professional, the two friends sought out musicians to join them, bringing Fernanda Abreu and Marcia Bulcão for backing vocals, Ricardo Barreto on guitar, Antônio Pedro Fortuna on bass, Billy Forghieri on keyboards, and Evandro himself on vocals and Lobão on drums. On January 15, 1982, the band went on stage at Circo Voador, the biggest concert hall in Rio at the time, playing for the first time under the name Blitz – a name suggested by Lobão (and soon accepted by the others) inspired by the number of times that Evandro was stopped by the police and fined. The repercussion caught the attention of EMI, who signed a contract with the band and, on July 20, the first single, "Você Não Soube Me Amar" is released. In three months, the single with just that track had sold 100,000 copies, becoming their most successful song.[6] As a result, the first album was released, As Aventuras da Blitz 1, which sold 300,000 copies and generated great repercussion for the mix of humorous music and futuristic costumes.

The artistic differences between Lobão and Evandro grew uncontrollably and, days after the release of the album, Lobão decided to leave the band, being replaced by Juba on drums. BLITZ became one of the pioneers of the Brazilian rock movement of the 1980s. The second single released, "Mais Uma de Amor (Geme Geme)", became the band's second biggest hit, although it ran into censorship for songwriting with sexual content. "Cruel Cruel Ezchizfrenético Blues" was released as the third single. In June 1983, the group's new single, "Dois Passos do Paraíso" was released, bringing a lighter theme so that it would not be blocked by censorship. Then comes "Betty Frígida", the band's most acidic song, which told the story of a sexual relationship that was bad for both sides. On September 10th, the second album, Radioactivity, is released, with a big party organized at the EMI headquarters, which brought together great artists such as Caetano Veloso and Paulo Cézar Lima. The band's tour, directed by Patrícya Travassos, reached record attendance and the first concerts reached 50,000 people. The third and last single released was "Weekend".

1984–86: Blitz 3 and separation

On March 23, 1984, the group participated in the children's special Plunct, Plact, Zuuum... 2, on Rede Globo, where they also interpreted a new track, "A Verdadeira História de Adão e Eva", included in the program's soundtrack. On July 7th, the group performs its concert with the greatest repercussion in Praça da Apoteose, which drew 30,000 people. On September 14, the band stars in its own special on Rede Globo, Blitz against the Genius of Evil, mixing dramaturgy and musical. Soon after, the new single, "Egotrip" is released. The third album, BLITZ 3, is released on December 15, in three formats with different covers, produced by the design company A Bela Arte.[22] In 1985, the band performed on two dates of the first edition of Rock in Rio – January 13th, to an audience of 110 thousand people, and January 20th, to 200 thousand people. Soon after, "Eugênio" and "Louca Paixão" were released as the second and third singles from the album, respectively. The overexposure and the exaggerated demand for work generated internal conflicts and the members understood that it was time to take a hiatus from the band's work, announcing that their next work, entitled O Última da Blitz, would be their last. recorded, since Ricardo and Márcia left the band in late 1985 and, on March 3, 1986, BLITZ announced their official separation.

1994–99: Return, Live BLITZ and Languages

In 1994, he had his song "Mais uma de amor (mome geme)" as the theme of the novel A Viagem, by the character played by Fernanda Rodrigues. In that same year, some former members got together for 5 years and recorded the albums "BLITZ Ao Vivo" in 1994 and "Línguas" in 1997, a period in which they changed record labels twice. Formation of the period: Evandro Mesquita, Juba, Ricardo Barreto, Antônio Pedro, Billy Forghieri and newcomer Hannah Lima on vocals alongside veteran Márcia Bulcão.

2006–Present: Second return and stability

In 2006 the band reunited and released the albums "Blitz – Ao Vivo ea Cores" and "Eskute Blitz", but the only remaining members of the band are Evandro Mesquita and Billy Forghieri. In 2017, the album Aventuras II was nominated for the 2017 Latin Grammy for Best Rock Album or Alternative in Portuguese Language.

Camisa de Vênus is a Brazilian rock band formed in Salvador in 1980 and is still active today. It was a great success in the Brazilian scene of the 80s, being a band considered more "dirty" than the others due to its name (at the time it was used as a synonym for condoms) and the swear words in the lyrics. His main songs are "Bete Morreu" and a cover of "Negue", from the first album; "Eu Não Killed Joana D'Arc", "Today" and a cover of "Gotham City", from the second album; "Silvia" and a cover of "My Way" from the first live album; "Simca Chambord", "Deus me Da Grana" and "Só o Fim", from the third album.

Story

The band was formed in 1980 when Marcelo Drummond Nova, who worked at radio Aratu in Salvador, met Robério Santana, who worked at TV Aratu. Talking about music, the two discovered that they had common tastes and decided to form a band. Marcelo Nova would be the vocalist and Robério Santana the bassist. Robério decided to call his friend Karl Franz Hummel to take over the base guitar and he, in turn, called his friend Gustavo Adolpho Souza Mullem to play drums. The solo guitarist Eugênio Soares joined the group.

At rehearsals, people who attended said the band's sound was too uncomfortable. Therefore, Marcelo Nova suggested the name of Camisa de Vênus, as he found condoms very uncomfortable. After two performances in Salvador, Eugênio Soares leaves the group and Gustavo Mullem, who wanted to play solo guitar, calls Aldo Pereira Machado to take over the drums. This would be the lineup that would play together until the band's first disbandment, in November 1987.

With the performance of some shows in the capital of Bahia, a small local record company, called NN Discos, becomes interested in the band and invites them to record a single, with the possibility of recording an album.[1] The band records two songs in Salvador: "Controle Total" and "Meu Primo Zé". Side A contained a song "sucked" from "Complete Control" by The Clash, but with lyrics that spoke of life in Bahia. The B side was composed of a version of the song "My Perfect Cousin" by The Undertones. The single was released in July 1982.

After the single, the label decides to give them the opportunity to record an album. However, with the success of other bands from the incipient Brazilian rock of the 80s - the first single by Blitz is from 1982, as well as by Paralamas do Sucesso and Kid Abelha -, Som Livre is interested in nationally launching the album. So, Marcelo Nova is called to a meeting with the executives of the Som Livre record company, Heleno de Oliveira and João Araújo, Cazuza's father. In this meeting, they expose a "problem" for Marcelo Nova: the band's name would hinder the dissemination of their first work (in the newspapers Camisa de Vênus was treated as "Camisa de…"). They suggested that the name be changed to a "better" one. Marcelo Nova says he would accept the name change and proposes that the new name be "Capa de Pica".

This meeting would seal the fate of Camisa de Vênus on the Som Livre record label and their first self-titled album, released in 1983, would have its distribution jeopardized. The album contained the song Bete Morreu, which would be nationally successful, but which, shortly thereafter, would have its radio broadcasting banned throughout the national territory by censorship.

After the release, the band spends almost a year without a record label, but ends up signing with RGE. Thus, in 1984, the band's second album was released, called Batalhão de Estranhos. The album brings a more mature band with better studio resources at their disposal, which provides the realization of a more polished and less aggressive sound. The band's second album brings another radio success, Eu Não Matei Joana D'Arc and they go on tour again.

Change of label

While watching a concert by the band, André Midani (director of the WEA label at the time) goes to the band's dressing room to ask what he needed to "hire that insult". It was agreed then that Camisa de Vênus would release an album with a live recording of a concert on the tour, produced by Pena Schmidt and released by the RGE label. Upon analyzing the material, they decided to launch a concert in Santos, held on March 8th.

Marcelo Nova, who already had experience with censored songs, decided not to send the album to the Censura, which remained in force despite the end of the military dictatorship. The album Viva was released in 1986 and, when it had sold around 40 thousand copies, it was collected by the Federal Police by censorship orders. Marcelo Nova himself witnessed copies of his album being collected in São Paulo.

After this episode, the album had eight of its ten songs censored for containing inappropriate language. However, with the return to sales, despite the ban on radio broadcasting and, perhaps, due to the boost obtained with the news of the album's censorship, its sales reach the 180,000 mark.

Still in 1986, they entered the studio again and recorded the album Correndo o Risco, the first on the Warner label. The album is produced by Pena Schmidt, continuing the partnership that would end only with the end of the band. It sells 300,000 copies and the song "Só o Fim" becomes the most played on the radio that year. In addition to the aforementioned, the highlights of the album are the songs "Simca Chambord" and "Deus Me Dé Grana".

End of band

After another tour, the band meets in the studio to record a new album. They call Raul Seixas for a participation, which results in the composition and recording of Muita Estrela, Pouca Constelação. Marcelo Nova and Camisa de Vênus knew Raul since a performance at Circo Voador, in Rio de Janeiro, in 1984, when they were informed that Raulzito would come to see them and ended up playing a selection of covers of classic rock songs.

Thus, in October 1987, they released the first double album of national rock, Duplo Sentido. Reception for the album is lower than the last, perhaps reflecting the large number of songs. Despite this, sales total around 40,000, even without a major promotion tour.

Since the band's previous album, Marcelo Nova had been thinking about leaving to follow new paths. The relationships between the members were also frayed by the several years of living together. Then, shortly after the release of this album, he announces to the band that he was leaving the group to pursue a solo career, but that they could continue if they wanted. However, the other members decide to end the group's career.

Back in 1995

In mid-1995, Karl Hummel called Marcelo Nova wanting to get back together with the band. To convince Marcelo Nova he said that he had heard the other day on TV that Skank was the "new sensation in national rock" and that, therefore, they needed to come back. They call Robério Santana to resume the bass, but Gustavo Mullem and Aldo Machado decide not to participate. Gustavo Mullem was working abroad and Aldo Machado became a Christian and no longer wanted to play with Camisa.

To complete the band, Marcelo Nova brings together half of the original Camisa de Vênus with half of his support band from the album A Session sem Fim. Thus, two anthological musicians of national rock complete the formation, Luis Sérgio Carlini on solo guitar and Franklin Paolillo on drums, as well as Carlos Alberto Calazans on keyboards, a musician who had accompanied Marcelo Nova since his departure from Camisa de Vênus.

Carlini had been the guitarist of Tutti Frutti, Rita Lee's band in the 70s after leaving Mutantes and Paolillo played with Carlini at Tutti Frutti, participating in the album Fruto Proibido, and also in the original formation of Joelho de Porco.

With this new line-up, Camisa starts a series of shows and signs a contract with Polygram for the release of two albums. Thus, still in 1995, they recorded a show held at Aeroanta, in São Paulo, and released the live album Plugado!. The album had good repercussions, introducing Camisa to a new generation of fans.

To consolidate this phase, the following year, the band enters the studio to record the album Quem É Você?. This album features Eric Burdon, legendary lead singer of The Animals, sharing vocals with Marcelo Nova and also producing a cover of Don't Let Me Be Misunderstood. In addition, it also has the participation of Raimundos in the track "Essa Linda Canção", which received great repercussion on MTV.

After a year on tour, Marcelo Nova decides to break up with Camisa de Vênus again and return to his solo career the following year.

2004 meeting

In January 2004, the band got together to play at the 6th edition of the Festival de Verão de Salvador and also to perform other shows. Camisa performs with Marcelo Nova, Karl Hummel and Gustavo Mullem - from the original lineup - plus Lu Stopa on bass, Johnny Boy on keyboards and additional guitar, and Denis Mendes on drums as a backing band. The performance is recorded and released the same year as a live DVD. At the end of the year, the Shirt of Venus breaks up again.

2007 meeting

In 2007, they got together for a tour with some shows in Brazil, and also recorded a live DVD from a show in Divinópolis. In this meeting, the band is formed by Marcelo Nova, Karl Hummel, Robério Santana and Gustavo Mullem, from the original formation, plus Luiz Carlini and Denis Mendes.

2009 meeting

The band meets again on May 3, 2009 for a show at the 5th edition of Virada Cultural de São Paulo, with the following line-up: Marcelo Nova (vocals), Robério Santana (bass), Karl Franz Hummel (base guitar), Gustavo Mullem (Guitar solo), Ivan Busic (Drums) and Luiz Carlini (Guitar). On that same night of the festival, rock bands such as Tutti Frutti, Joelho de Porco and Velhas Virgens also played. After the presentation, Robério Santana, Karl Hummel and Gustavo Mullem decided to continue with the band, even without the presence of Marcelo Nova. So, in early 2010, the band announces the official return, however, with the presence of Eduardo Scott (ex-Gonorrhea) on vocals and Louis Bear on drums. This return begins with a series of shows across the country together with the band Raimundos. At the end of 2010, Robério Santana leaves Camisa again with a supporting musician in his place, bassist Jerry Marlon. The band - now formed by Hummel, Mullem and Scott, plus two supporting musicians on bass and drums - plans to release albums in 2011. Thus, in 2011, the band independently releases a compilation - Mais Vivo than Never - with Scott interpreting the classics that were immortalized in Marcelo's voice and with an unprecedented song, "Sem Nada". However, in 2012, Marcelo Nova, claiming dissatisfaction with what he considers the poor quality of the release and also with the fact that the band was awarded a grant from a public notice to encourage the culture of the Bahian government, goes to court to prevent that the three release more albums using the name "Venus Shirt".

In 2014, he launched his third season with only Gustavo Mullem and Karl Hummel from the original lineup, plus Eduardo Scott on vocals, but now with Ivan Oliveira on bass and Cloud on drums.

35 year tour

In 2015, Marcelo Nova and Robério Santana announced a Camisa de Vênus tour commemorating the band's 35th anniversary, featuring musicians from Marcelo's solo career as a support band (Drake Nova, Marcelo's son, on guitar; Leandro Dalle on guitar; another guitar; and Célio Glouster on drums). On this tour, the band visited the main capitals of the country, such as São Paulo, Rio de Janeiro, Salvador, Curitiba and Recife. The current lineup has been defined as a “steam roller”[20] on stage, playing at least one song from each of their seven albums released so far.[21]

New unreleased album

Show at Sesc Jundiaí on July 22, 2016 - "Dançando na Lua" Release Tour

In July 2016, after 20 years without releases, the band announced the tour "Dançando na Lua", homonymous to the new album, containing only new tracks.

On July 22, the new album is officially released, its first single being the song "Raça Mansa".

Formations

See also: List of Venus Shirt formations

currently

Marcelo Nova: vocal.

Drake Nova: guitar.

Leandro Dalle: guitar.

Robério Santana: low.

Celium Glouster: battery.

A Cor do Som is a Brazilian group that was created from the following of musicians who accompanied Moraes Moreira after his departure from Novos Baianos. Originally this was the name of the instrumental band that accompanied Novos Baianos, a title suggested by Caetano Veloso.

Story

The band emerged in mid-1977, formed by experienced musicians on the national scene. Experimenting with new sound patterns, it drew on previous experiences with Moraes Moreira, Pepeu Gomes, among others, being considered a post-tropicalist movement. In his first album of the same name (WEA 1977), the members were Dadi Carvalho (ex-Novos baianos and Jorge Ben) on bass, his brother Mú Carvalho (ex-A Banda do Zé Pretinho) on keyboards, Gustavo Schroeter (ex-A Bolha ) on drums and Armandinho Macêdo (Trio Elétrico Armandinho, Dodô & Osmar) on guitar, mandolin, and guitar from Bahia. From the second album, Ao Vivo em Montreux, percussionist (and Armandinho's colleague in his other band) Ary Dias joins the group.

Mixing rock, regional rhythms, and classical music, they were invited by Claude Nobs to participate in the Montreux Jazz Festival, in Switzerland, becoming the first Brazilian musical group to participate in the event. The presentation featured almost all unpublished material and resulted in a live album. From the third work, to fructify, they start to perform songs sung at the request of the record company, which raises them to new levels of popularity.

After the 1981 album Changing Station, Armandinho left the group to continue with his previous project and take new paths in his solo career. He was then replaced by Victor Biglione, who recorded Magia Tropical, in 1982, and As Quatro Fases do Amor, in 1983. In 1984, they released again an all-instrumental album entitled Intuição, already without Victor Biglione, but with guest appearances by Egberto Gismonti, Tulio Mourao and Perinho Santana. The following year, with Perinho on the guitars, they released Som da Cor. In 1986, they recorded Gosto do Prazer (whose title-track became part of the soundtrack of the soap opera Hipertension). In 1987, another change: Perinho Santana and Gustavo Schroeter leave and Jorginho Gomes (ex-Novos Baianos) on drums and Didi - "Claudimar Gomes" (also experienced, having played with his brother Pepeu Gomes and others) on bass, taking Dadi to take over the guitars. In 1996, the group got together with the original formation to record the album A Cor do Som Ao Vivo no Circo, recorded at Circo Voador, in Rio de Janeiro. That year they received the Sharp Award for Best Instrumental Group.

In 2005, with the original formation, the group performed at Canecão, in Rio de Janeiro. The show had the special participation of Caetano Veloso, Daniela Mercury, Moraes Moreira, Davi Moraes, and the Coral dos Canarinhos de Petrópolis, in addition to musicians Nicolas Krassik (violin), Nivaldo Ornelas (soprano sax), Marcos Nimrichter (accordion and keyboards ), Jorge Helder (acoustic bass, guitar, and bass guitar), Jorginho Gomes (drums and percussion), Marco Túlio (flute), Francisco Gonçalves (oboe), Bernardo Bessler (violin), Marie Cristine (viola), and Marcio Mallard ( cello).

The show generated the CD and DVD A Cor do Som Acústico, released in the same year with a musical production by Sérgio de Carvalho. In 2006, they were awarded the Tim Prize for Best Group, in the Popular Song category, for this album. The band continues to perform sporadically.

Dr. Silvana & Cia. is a Brazilian pop-rock band, formed in Rio de Janeiro, capital of the state of Rio de Janeiro.

His songs became known nationally for their humorous and double-meaning lyrics.

Career

Dr. Silvana & Cia. was formed in 1984 by Ricardo Zimetbaum, Cícero Pestana, Jorge Soledade and Edu Lissovsky, in Rio de Janeiro.

He released a single on CBS in 1984, Eh! Oh!, and an LP by the same label the following year, titled Dr. Silvana & Cia.[2] Two songs on the album soon became a hit: Serão Extra and Taca a Mãe para Ver se Quica.

In 1985, Dr. Silvana & Cia. participated in the compilation Que Delícia de Rock, also released by the CBS label.

In 1987, the second album, Tide, is released.

In 1989, the group released its third album: Ataca Outra Vez, now on the RGE label.

In 1993, the group's fourth album, A Vingança, was released, not having the same impact as their previous albums.

In 2005, the album Choco, Choco, Chocolate was released.

In 2015, they recorded a DVD commemorating their 30-year career in Rio de Janeiro.

Currently, the band has a new line-up and performs throughout Brazil in its own events or parties in the 1980s.

Current Members

Cicero Pestana (vocals and guitar)

Vagner Beraldo (bass)

Maurício Mello (battery)

Egotrip was a Brazilian pop/rock band.

Story

Bassist Arthur Maia — who had already worked with MPB veterans such as Gal Costa, Caetano Veloso, Roberto Carlos, Djavan and Milton Nascimento — founded Egotrip in 1985. His self-titled debut album was released in 1987. The song "Viagem ao Fundo" do Ego" was a great success soon after, being included in the soundtrack of the soap opera Mandala, by Rede Globo. Another great success of the group was the song "Kamikaze", which reached the top of several radio stations in Brazil at the time.

Egotrip wouldn't last long, however: they parted ways after drummer Pedro Gil (son of Gilberto Gil) died in a car accident in 1990.

Members

Arthur Maia (bass, voice, keyboard);

Nando Chagas (voice, guitar, keyboard);

José Rubens (saxophone, keyboard);

Francisco Frias (guitar, synthesized guitar, keyboard, arrangements and computer programming);

Pedro Gil (drums, keyboard).

Engenheiros do Hawaii was a Brazilian rock band, formed on January 11, 1985[1] in the city of Porto Alegre by Humberto Gessinger (vocals and bass), Carlos Stein (guitar), Marcelo Pitz (bass) and Carlos Maltz (drums) ), who achieved great popularity with their lyrical and critical songs. Before reaching their final lineup, the band went through some changes, being Gessinger the last member of the original lineup to remain in the band until the "break" occurred in 2008, for particular reasons of the band.

Trajectory

The early years (1984 – 1989)

Four students from the Faculty of Architecture at UFRGS - Humberto Gessinger (vocals and guitar), Carlos Stein (guitar), Marcelo Pitz (bass) and Carlos Maltz (drums) - decided to form a band for a performance at a college festival, which would take place protesting the suspension of classes. The band's first concert was on January 11, 1985, they chose the name Engenheiros do Hawaii to satirize the engineering students who wore surfer shorts, with whom they had a certain rivalry. Proposals for new shows began to emerge and, later, some presentations on alternative stages in Porto Alegre, along with a series of shows in the interior of Rio Grande do Sul. The band, in less than four months of career, has already managed to record two songs in the compilation Rock Grande do Sul (1985) with several bands from Rio Grande do Sul, due to one of the winning bands in the contest that added to the compilation had given up on participating in the album at the last minute. When the band continued with their rehearsals, during the college strike, Carlos Stein took a trip that ended up making his permanence in the group unfeasible, and, some time later, he joins the band None of Us. Months passed, and Engenheiros do Hawaii they recorded their first album: Longe Demais das Capitals, in 1986. The musical north of the album pointed to a sound focused on pop music, very close to the ska of bands like The Police and Os Paralamas do Sucesso. Highlights include the songs "Toda Forma de Poder", which was the theme of the soap operas Hipertension on Rede Globo and Vitória on RecordTV. "Segurança", as well as "Sopa de Letrinhas" and "Longe Demais das Capitals".

Before starting the recordings of the second album, Marcelo Pitz left the band for personal reasons. With Gessinger taking over the bass, guitarist Augusto Licks enters, who had worked with Nei Lisboa, a well-known musician from Rio Grande do Sul. Os Engenheiros released the album A Revolta dos Dândis, in 1987. The band changed the thematic direction, starting a trilogy based on progressive rock, with albums with repetitions of graphic and musical themes and lyrics in which self-quote occurs. The musical arrangements are influenced by 1960s rock, the lyrics are critical, with the occurrence of various antitheses, paradoxes and literary quotes from philosophers such as Albert Camus and Jean-Paul Sartre. Highlight for the hits "Infinita Highway", "Land of Giants", "Chorus of Bolero" and the title track, divided into two parts. Concerts begin for large audiences in the country's urban centers, such as the Alternativa Nativa festival, held between June 14 and 17, 1987. From that date onwards, the Engineers would fill gymnasiums and stadiums throughout Brazil. However, there were controversies and the band was accused of being elitist and fascist for the content of their lyrics. Controversy intensified when band members performed wearing t-shirts emblazoned with the Star of David and Swastika. The next album, Listen to what Eu Digo: Não Ouça Nobody, from 1988, can be seen as a continuation of the previous one, both for the work on the album cover and for the theme and style of its songs. Highlights for the songs "We Are Who Can Be", "City in Flames", "Tribos & Tribunais", the title track and "Variações Sobre o Same Tema", the latter a tribute to the band Pink Floyd, with its progressive aesthetic and divided into three parts. The album also marks the departure of Engenheiros from the city of Porto Alegre, moving to Rio de Janeiro. Once the new line-up was consolidated, the Engenheiros released Alívio Imediato, from 1989, the band's fourth album and their first live record. His songs show a retrospective of his main songs and the new perspectives to be incorporated, especially the more electronic sound, present in the title track and in the song "Nau à Deriva", both recorded in the studio and the others recorded live at Canecão, in Rio de Janeiro.

Moving to Rio de Janeiro (1990 – 1993)

The following album, O Papa é Pop, from 1990 consolidates the band's change in sound. Pulled by the hit "It was a boy that like me loved the Beatles and the Rolling Stones", re-recording of an old song by the group Os Incríveis (in turn a version of the song "C'era un ragazzo che come me amor i Beatles ei Rolling Stones " by Gianni Morandi), and the title track, Engenheiros' fifth album, invests in a progressive sound, based on Licks' guitar solos and a more electronic base of keyboards and drums. Gessinger also took over the electric piano and the band's piano and voice ballads began to emerge. His songs are "Anoiteceu em Porto Alegre", "The Army of a Man Only" (divided into two parts), "Pra Ser Sincero" and "Perfeita Simetria" (alternative version of the song "O Papa é Pop"). Among the new hits, an old song, "Refrão de Bolero", from the second album, A Revolta dos Dândis, was also played a lot on the radio. Acclaimed by the public and massacred by the critics, the Engenheiros do Hawaii enshrines themselves in Rock in Rio II, drawing praise from the American newspaper The New York Times, despite being ignored by Folha de S. Paulo. The year of 1991 marks the release of the sixth album, Various Variables, which completes the trilogy started on the band's second and third albums. There is a reduction in the electronic effects and the resumption of a more rock 'n' roll sound, but it does not repeat the same success as the previous one, even with the song "Herdeiro da Pampa Pobre", a re-recording of an old hit by Gaúcho da Fronteira, well performed. on the radios. This is one of the albums that contains the best lyrics of the group, however, the sound is not the strongest of the album, being the same questioned until today by Gessinger himself. It can be said that it was a seminal album, as songs such as "Piano Bar", "Muros & Grades" and "Ando Só", re-recorded on other albums, established themselves as some of the best in the band.

The following year, 1992, is released the seventh disc, Gessinger, Licks & Maltz, or GLM, inspired by Emerson's famous ELP logo, Lake & Palmer. The sound continues to mix elements of MPB and progressive rock, with emphasis on the songs "Ninguém = Nobody", "A Conquista do Espaço", "Pose (90s)" and "Parabólica", a song that Gessinger wrote in honor of his daughter Clara, born in February of the same year. Engenheiros' eighth album is the semi-acoustic Filmes de Guerra, Canções de Amor, from 1993, recorded live at Sala Cecília Meireles, in Rio de Janeiro. The band considered this album as acoustic, as it conditioned this format to the absence of drums and semi-acoustic guitars. At the time, there was no acoustic fever recorded by the great national names, which denotes the band's visionary character. The album was recorded live as a result of a decision by the band to record a live album every three albums, an idea of the band Rush, which does the same. With acoustic guitars, percussion, piano, accordion and participation of the Brazilian Symphonic Orchestra on three tracks, conducted by Wagner Tiso, the old songs – such as "Muros & Grades", "The Army of a Man Only" and "Chrônica" – and new ones compositions – such as "Mapas do Acaso" and "Quanto Vale a Vida?", gained arrangements that pointed to the blues, traditionalist and classical music, highlighting the excellent quality of the lyrics by Engenheiros do Hawaii. In the same year, the band participated in the Hollywood Rock Brasil festival, together with Brazilians from Bikini Cavadão, De Falla, Dr. Sin and Midnight Blues Band. However, they were not well received and received many boos. They performed on the same day as L7 and Nirvana. 1993 also marks the Engineers' first tour of Japan and the United States. However, at the end of the same year, arguments and internal quarrels ended up resulting in the departure of guitarist Augusto Licks. A long legal dispute for the brand "Engenheiros do Hawaii" begins, with Gessinger and Maltz finally taking the name of the band.

Stormy Times and Gessinger Trio (1994 – 1999)

The next step was to reassemble the Engenheiros, with the entry of guitarist Ricardo Horn. Later, the following also join the band: Paolo Casarin (accordion and keyboards) and guitarist Fernando Deluqui (ex-RPM). After two years without recording, in 1995 the Engenheiros released the album Simples de Coração. The sound is heavier, with regional gaucho moods given by Casarin's accordion. Highlight for the songs "A Promessa", "A Perigo", "Dice Throw", "Ilex Paraguariensis" and "Simples de Coração". There was also the song "O Castelo dos Destinos Cruzados", in which drummer Maltz takes over the vocals. The album Simples de Coração also had an English version, which did not reach sales. The most assiduous fans only have the MP3s. Parallel to the recordings of Simples de Coração, Gessinger assembles the trio "33 de Espadas", to play instrumental music. At the end of the Simples de Coração tour, the band went through a serious crisis, as the "quintet" formation was temporary. Far from the success of other times, Engineers are starting to think about following other paths. "33 of swords" makes its debut with the formation that would come to be called "Humberto Gessinger Trio", with Luciano Granja on guitar and Adal Fonseca on drums. The group released the album, also titled "Humberto Gessinger Trio" (HG3), in 1996. The clean atmosphere of the album, basically with drums, bass and guitar, recalls Gessinger's early works, as exemplified by the songs "Vida Real" "Freud Flintstone", "From Faith" and "The Price". Parallel to this fact, Carlos Maltz engages in a mystical path and decides to abandon the Engineers. From there, the drummer assembles the group "A Irmandade". During the Humberto Gessinger Trio tour, there is a constant change of band names. The shows that were supposed to be advertised as HG3 were still presented as Engineers of Hawaii.

The truth is that for a producer to announce a concert by Engenheiros do Hawaii, a nationally known band was much easier and more profitable than presenting them as Humberto Gessinger Trio, an absolutely unknown name. Recognizing that it was unfeasible to continue with the name of the new band, Gessinger returns to admit himself as an Engineer from Hawaii. So that there is some difference between the HG3 and the "new" Engenheiros do Hawaii, he invites Lúcio Dorfmann to take over the group's keyboards, configuring a new sound for the group, very close to the pop that predominated in the music market at the time. The 1997 album Minuano marks the return of Engenheiros do Hawaii under this name. The album mixes regionalist influences, technology and features violin arrangements that are reminiscent of folk, making this the band's lightest and most vague-sounding album. The success of "A Montanha" is great, as well as other beautiful songs such as "Nuvem", "Faz Parte" and "Alucinação", a cover for an old song by Belchior. The record also marked the departure of Engenheiros do Hawaii from BMG. The output was with the release of a box in tin format, entitled Infinita Highway, containing the re-release of all ten albums of the band so far. All were remastered, with the exception of the last two (Simples de Coração and Minuano were already recorded in CD format). ¡Bye Radar!, from 1999, marks the entry of Engineers to Universal Music Group and displays a greater maturity of the group, where the band's musical influences are more evident (folk rock, 60's rock'n roll, progressive rock and MPB) with beautiful compositions by Gessinger, such as "Eu Que Não Amo Você", "Seguir Viagem" and "3 X 4" in addition to two covers: "Negro Amor" ("It's All Over Now Baby Blue", by Bob Dylan) and "Cruzada" (by Tavinho Moura and Marcio Borges), is featuring orchestral arrangements, as is common in several tracks on the album.

New phase (2000 – 2003)

From the ¡Bye Radar! came the band's third live album, and the twelfth of their career: 10.000 Destinos. Again, Gessinger reviews the band's consecrated repertoire in new versions divided into an acoustic and an electric set and has the participation of Paulo Ricardo, singing "Rádio Pirata" by RPM, and piper Renato Borghetti in the songs "Refrão de um Bolero" and "Every Form of Power". As bonus tracks, recorded in the studio, they accompany the unreleased "Números" and "Novos Horizontes", in addition to the re-recording of "Quando o Carnaval Chegar", by Chico Buarque. A few months after their performance at Rock in Rio III (2001), Lúcio, Adal and Luciano leave the band and form another group, Massa Crítica, once again changing the Engenheiros lineup. Lúcio, Adal and Luciano are replaced by Paulinho Galvão (guitar), Bernardo Fonseca (bass) and Gláucio Ayala (drums). Gessinger returns to playing guitar, after 14 years responsible for the Engenheiros' double bass. With this new line-up, they re-record some of the band's songs and release a re-edition of their latest album, now titled 10.001 Destinos. Duplo brings the same tracks from the first album, and new studio versions of the songs "Novos Horizontes", "Freud Flinstone", "Nunca Se Sabe", "Eu Que não Amo Você", "A Perigo", "Concreto e Asfalto" " and "Without you".

I started with this formation, following again the music market (when heavier bands started to have more space), with cleaner and heavier sound. This is confirmed in 2002, with the release of the album Surfando Karmas & DNA, an album that consolidates the new phase of the band, and which has the special participation of ex-Engenheiros Carlos Maltz on the track "E-stória". Highlights of the album are the title track and the songs "Terceira do Plural", "Esportes Radicais", "Ritos de Passagem" and "Nunca Mais". There is influence from punk rock and pop rock in the new songs. The next album, Dançando no Campo Minado, from 2003, keeps the rule: sound very similar to its predecessor with short songs, heavy guitars and critical poetry by Gessinger denouncing the evils of globalization, political and ideological disillusionment and war, in the songs "Fusão a Frio", "Dançando no Campo Minado", "Dom Quixote" and "Segunda Feira Blues" (parts I and II, the latter again with the participation of Carlos Maltz), however, coexisting with a certain optimism in the more emotional life. The song Till the End is on the radio.

Acoustic MTV and Acoustic II: New Horizons (Acoustic Tours) (2004 – 2008)

In 2004, Engenheiros do Hawaii released the MTV Acoustic CD and DVD. The acoustic features guest appearances by musicians Humberto Barros (Hammond organ) and Fernando Aranha (guitar). The latter had already made a special guest appearance on the previous album. The album differs from the others by not bringing special appearances, only "fraternal": Clara Gessinger, daughter of Humberto, shares the vocals with her father in the song Pose (performed with part of the lyrics cut) and Carlos Maltz, co-founder and ex -drummer dos Engenheiros, who sings together with Gessinger the song After Us, by him. In addition to the great hits such as Infinita Highway, Somos Quem Somos and O Papa é Pop and recent songs such as Surfando Karmas & DNA and Up to the End, the album features the songs O Price and Vida Real, both from the Humberto Gessinger Trio album . Finally, the new songs "Armas Químicas e Poemas" and "Outras Frequências" are added. During Acústico's tour, Paulinho Galvão leaves the band and his post is assumed by Fernando Aranha. On keyboards, in turn, the young Pedro Augusto takes the place of Humberto Barros, who was already part of Kid Abelha's support band.

The new album, Novos Horizontes, was recorded on May 30 and 31, 2007, in São Paulo, at Citibank Hall, and was released in August 2007 with nine new tracks, in addition to nine re-records. The disc broke the sequence of every 3 discs in the studio, one "live" is recorded. It was also the stage for new experiences for Gessinger, such as the country guitar that he uses in some of the songs on the album. According to him, if he had to review all the works of the Engineers of Hawaii, 'Novos Horizontes' is the one that wouldn't change anything. Highlight for the new tracks "Guantánamo", "Coração Blindado", "No Meio de Tudo, Você" and "Quebra-Cabeça". At the end of 2007, then bassist Bernardo Fonseca leaves the band and Humberto Gessinger takes over the bass. Since then, the band has returned to using guitars in their shows. In 2008, after concerts all over Brazil, the band finished the acoustic tour, which began on July 23, 2004 with the release of Acústico MTV.

Activities interrupted

Along with the tour, at least temporarily, the activities of the Engineers of Hawaii. The vocalist and leader of the band, Humberto Gessinger, declared on the band's official website that the band's return plans are only in the year 2017. Remembering that it is the fifth time that Gessinger has postponed the return of the Engineers. Between 2008 and 2012 Gessinger dedicated himself to Pouca Vogal, in partnership with Duca Leindecker, vocalist of Cidadão Quem. Together they sang new ballads and great hits from their bands. Gessinger is currently dedicated to his solo career, which started in 2013 with the release of the CD Insular, and continued with the CD/DVD Insular live in 2014. In 2016 he starts a new tour called "Crazy Pra Ficar Legal", excerpt from the song "Pra Fica Legal" in 2002. He also released 5 books: Meu Pequeno Gremista and Pra Ser Sincere - 123 Variations on the Same Theme at the end of 2009, Mapas do Acaso - 45 Variations on the Same Theme in February 2011 , In Entrelinhas do Horizonte in April 2012 and Six Seconds of Attention in August 2013.

2017, 30 years of A Revolta dos Dandis

At the end of 2016, the expectation of a meeting of the acclaimed classical formation GL&M, to celebrate the 30th anniversary of the most revered album by fans and even by Humberto Gessinger, Augusto Licks and Carlos Maltz: The revolt of the Dândis . Licks is totally averse to public appearances, but in 2015 he created a workshop entitled "From Quarto Para o Mundo", where he has already visited some capitals, and the big surprise was to go on stage with singer Tsubasa Imamura to participate in "Pra Ser Sincero, Gessinger / Licks" more than 20 years after the last show with the Engineers. Carlos Maltz, on the other hand, went through a difficult time at the end of the same year, as he underwent a procedure to treat an aortic aneurysm. Gessinger kept Carlos' fans updated with notes on his Facebook and Twitter profile, a fact that almost went unnoticed. Licks then got in touch with his former bandmate. As far as anyone knows, it was the first time the two spoke since the turbulent departure of Licks dos Engenheiros, which according to Maltz himself, was one of the best things that happened to him in such a difficult time. Putting it all together, rumors surfaced that the long-awaited meeting would take place. Unfortunately it didn't happen, and it's unlikely that the Engenheiros do Hawaii brand will be back in a show again, either with GL&M or with another lineup, even because Humberto Gessinger's solo career is super successful, public and critical success, a of the few artists who can keep up with a loyal audience and away from the big spotlights of today's industry.

An addendum on A Revolta dos Dandis: in this phase of the band, the influence of the French existentialist philosopher Jean-Paul Sartre was very present. In the song “Infinita highway”, which definitively changed the trajectory of Engineers, for example, there are excerpts such as “doubt is the price of purity”, a phrase from the work O Muro, by Sartre. This music allows to induce the presence of an existential theme. In addition to the quote from The Wall in “Infinita highway”, Sartre is mentioned in “Border Guards” (“I happen to have no choice / That's why I'm free / I'm not the liar / It was Sartre who wrote the book.” Humberto Gessinger himself, leader of the Engenheiros do Hawaii band, says that "Infinita Highway" puts existentialist reflections inspired by Sartre on a progressive musical basis. , is also what most reveals Humberto's preferences for Sartre. At the same time, the group was accused of being elitist and fascist due to the content of their lyrics. In response, Gessinger said that the Brazilian people understand as much about existentialism as about boxing , being the two consumer products. Among the tracks that most clearly demonstrate the existential philosophy are: Infinita Highway, Terra de Gigantes, Chorus by Bolero and the track that gives the album its name, A Revolta dos Dâ ndis.

Thus, in the same way, the philosophy of Camus, Nietzsche and Sartre are present in the work of the Engineers of Hawaii; the social language of books by Ferreira Gullar, John Fante, Arthur Rimbaud and George Orwell; as well as the regional and national aspects, characteristic of the works of Moacyr Scliar, Carlos Drummond de Andrade and Josué Guimarães.

When the band Engenheiros do Hawaii appeared, Gessinger used an experimentalism of sounds inherited from Bossa-Nova, Jovem Guarda, Tropicalismo and Progressive Rock, which still bears conceptualism as a mark in his compositions, that is, an engagement in around a theme.

Formations

Humberto Gessinger is the only member of the group's foundation who participated in all its formations.

Last Formation

Humberto Gessinger - voice, bass, mandolin, country guitar, guitar, accordion, midi pedalboard, harmonica, guitar and piano (1984-2008)

Gláucio Ayala - drums and vocals (2001-2008)

Fernando Aranha - guitar and acoustic guitar (2004-2008)

Pedro Augusto - keyboards (2005-2008)

The Fevers is a Brazilian rock and pop band formed in Rio de Janeiro in 1964[1] and associated with Jovem Guarda. It was very successful in the second half of the 1960s and early 1970s, becoming famous in the 1980s with the openings of soap operas (Elas por Elas and Guerra dos Sexos, by Rede Globo). The group continues in full activity to this day.

Historic

Created in 1964, the band was originally called The Fenders[2] and its original members were Almir Bezerra (vocals and guitar), Liebert (double bass), Lécio do Nascimento (drums), Pedrinho (guitar), Cleudir (keyboards). In 1965, when they learned that The Fenders was a guitar trademark, they had to choose another name, and influenced by the song 'Fever' by Elvis Presley, they decided to put The Fevers. In the first semester of 1965 the saxophonist Miguel Plopschi arrived and in 1969 the crooner Luiz Claudio arrived to sing the songs in English.

They recorded their first albums in 1965 and 1966 for Philips, the compacts letkiss dance (Letkiss version), Wooly Bully (Domingo Samudio, in version) and I don't live in solitude. In 1966, they appeared in the film Na Onda do Iê-Iê-Iê.

Moving to Odeon in 1966, they proved to be one of the most important vocal-instrumental groups in the Jovem Guarda. They performed (often without credits on the albums) the instrumental accompaniment of recordings by Eduardo Araújo (O bom), Deny and Dino (Coruja), Erasmo Carlos (the LPs O Tremendão and Você me light), Roberto Carlos (recordings such as Eu darei the sky and I'm in love with you), Golden Boys, Wilson Simonal (tracks like Mamma passed sugar on me), Trio Esperança (LP A festa do Bolinha), Jorge Ben (the LP O bidu/Silêncio no Brooklin) and the first LP by Paulo Sérgio.

The group was voted best ensemble for dances in 1968 and released an LP called Os Reis do Baile. In 1965, saxophonist Miguel Plopschi joined the band, in 1969 vocalist Luís Cláudio joined the band singing the greatest hits in English; in 1975 Augusto César joined, the following year Pedrinho left the band. In 1979, with the departure of Almir, the band invited Michael Sullivan.

In 1982, the song Elas por Elas (Augusto César and Nelson Motta) entered the opening of TV Globo's soap opera, placing the group as one of the greatest sellers of records and shows in the country. In 1983, another soap opera opening: the song Guerra dos Sexos (Augusto César and Cláudio Rabello) brought a younger audience to know the group's work. The Miguel Plopschi component leaves the band and assumes the artistic direction of the BMG record label at that time.

In 1984, when they made a special appearance on the LP of the newly created children's band Trem da Alegria, they helped to raise it to stardom, playing a fundamental part in the composition of the legendary song Uni Duni Tê, one of the best children's songs ever created in Brazil.

In 1985, Miguel Ângelo enters as keyboardist of the band, Michael Sullivan leaves the following year. In 1988, Augusto César recorded a solo album and invited the talented vocalist and guitarist César Lemos, who remained in the group for 3 years. In 1988, it's Cleudir's turn to leave.

In the 1990s, another change in the band: César Lemos leaves and guitarist Rama enters. Due to health problems, drummer Lécio leaves and Darcy enters. In 1992, Almir Bezerra returns to the band after 12 years. In 1994, Darcy replaced drummer Otávio. With this line-up, The Fevers spends the 90's making hit songs, but as if they had started a new band. In mid-2000, Almir leaves the band again and who takes the lead vocal now is Luiz Claudio.

In 2004, most of the remastered works in his EMI Music catalog were released in box format (commemorative boxes), on CD with the title “The Fevers Collection”. The collection comprises 21 titles distributed in 10 volumes. The first one is 0 (zero), called The Fevers and Friends (1966), followed by volume 1 – A Juventude Manda (1966) and A Juventude Manda 2 (1967), vol. 2 – O Máximo em Festa (1968), vol. 3 – The Kings of the Balls (1969) and The Fevers (1970), vol. 4 – The Fevers (1971) and The Fevers' Musical Explosion (1971), vol. 5 – The Fevers (1972) and The Fevers (1973), vol. 6 – The Fevers (1974) and The Sun Rises for All (1975), vol. 7 – The Fevers Nadie Vive Sin Amor – Spanish (1975), vol. 8 – The Fevers (1976) Many of these works recorded on vinyl were digitally remastered by Marcelo Froes and re-released on CD.

The Fevers actively participated in the 40 Years of the Young Guard celebration. Together with Erasmo Carlos, Wanderléa and Golden Boys, they set up, under the general direction of José Carlos Marinho, the project 40 Anos de Rock Brasil – Jovem Guarda, which toured the main capitals acting in the main spaces of Mega Shows throughout Brazil, with extraordinary repercussion . The show was recorded on DVD at Tom Brasil, São Paulo, awarded with Gold and Platinum Records. The Jovem Guarda – 40 Years of Rock Brasil, kept on the road, with a new title, “Festa de Arromba”, and became one of the main shows directed to Eventos Coorporativos. In 2006, managing the time between shows and other commitments, they recorded their first DVD live in a great presentation held at Clube Português, in Recife. The repertoire was composed of great hits, such as: “Mar de Rosa”, “Now I Know”, “Hey Girl”, “Come Help Me”, “Nathalie”, “Where Are Your Black Eyes”, “If You Want Me ”, “Candida”, “Someone On My Way”, “War of the Sexes”, “Them For Them”, “Boy Who Loved The Beatles and The Rolling Stones”, “Pretty Girl” “Woolly Bully” and “For Ever”. Special moments of the DVD, in addition to the perfect performance of Fevers, were the special appearances of “Renato and Seus Blue Caps” and the Band “Pholhas”. Under Artistic Direction by JC Marinho and Musical production by Liebert Ferreira and Luiz Cláudio. In early 2007 the DVD and CD, with the same name, was released by Polydisc label. As expected, the double again reaches a new sales record, accounting for another gold CD and DVD for the group. Excited with the success of the DVD, they sewed up a new show, launching in August on the stage of Canecão (Rio de Janeiro), the show “Vem Dançar”, with sold-out ticket sales. The repertoire of the show reproduces that of the DVD, justifying the title “Vem Dançar” very well. The contagious rhythm makes the audience of a show apart for almost 2 hours from the strong and contagious rhythm of the band.

One of the most important and emotional moments in Fevers' career was in 2008, the Concert “FEVERS INTERNATIONAL TOUR”, in Ontario Place, in Toronto and in Mississauga, Canada, where they were honored by the Portuguese Canadian community. The international tour continued in July 2009, The Fevers performed again in Canada, this time with greater prominence at Chin Radio Pic Nic, considered the largest outdoor pic nic in the world, the event gathered an audience of over 150,000 people at the Ontario Place in Toronto, performed again in Mississauga and Winnipeg, all concerts were sold out. This is the result of the excellent work of Band The Fevers and the good relationship that Marinho Produções maintains with the international business community. The goal of the production and the Fevers is to keep the VEM DANÇAR Show for the next three years, surpassing the quantity and quality of the shows held in 2010

Celebrating the success and uninterrupted career of four decades, FEVERS release a new album. And it's not just “another record” in the band's extensive discography. IT'S A NEW DISC! Yes, they didn't settle for the title of “The Most Popular Band in Brazil” or “The Best Show Band”. The group decided to innovate, recording one of their best phonographic works to date. A “freshness” from the 2000s with the FEVERS footprint. It's not that characteristic sound of the band, that just by listening to the source already identified. It has the touch of the modern with the quality of the 47 Years of Road experience.

Bringing new songs, some made by renowned friends such as the brothers Rogério “Percy” Lucas and Robson Lucas (“Vício Sem Cura”), from the southern group None of Us (“You Will Remember Me”), Alex Cohen and Michael Sullivan ( “Vai e Vem”), Cesar Lemos, Karla Aponte and Elsten Torres (“When A Man Cries / When A Man Cries”, as well as compositions by band members, “Sigo em Frente” (Luiz Cláudio and Francisdeo) and “ O Pecado Mora Ao Lado” (Rama), this new FEVERS album points to the band's new path and sound. Since 1969 and “Um Louco” (Ed Wilson), which the band broke out in 1988, FEVERS have shown their versatility in recreating classics from their career for new listeners who are arriving. , joy, confidence, with the re-recordings of “Énecess Saber Viver” (Roberto Carlos and Erasmo Carlos), “Boa Sorte” (O. Vera and H.Sotero – Paulo Coelho version) and “Marcas do Que Se Foi” (Tavito, Paulo Sergio Vale, Marcio Moura, Ribeiro, José Jorge and Ruy Mauriti). To close the work, the record that shows the face of FEVERS: the recording of “Eu Nasci A Dez Mil Anos Atrás” (Raul Seixas and Paulo Coelho), with a footprint and energy that justify so many contemporary bands and musicians paying homage to group.

For the final result with this quality, we sought to work with the best professionals and the best in equipment technology. With that, “Didier Fernan”, directed the entire recording at the Copacabana Studio and in his Home Studio (RJ), “Cesar Lemos” (former FEVERS member), was responsible for the recording at the Miami Beat Studio (Miami, USA), “ Guilherme Reis” mixed at Mega Studio (SP), and the celebrated “Luigi Hoffer” mastered at DMS – Digital Mastering Solutions (RJ).

And the FEVERS don't stop. This new album was nominated for the 2011 Brazilian Music Award. It competed with The Fevers, the bands Clothes Nova and Sua Mãe, in the category "Best Popular Song Album". The award ceremony took place at the Municipal Theater of Rio de Janeiro in July 2011, and the winning band was Roupa Nova. However, for the Fevers the award nomination was a great victory. With a very requested concert schedule, Fevers maintain an annual average of more than 100 live concert presentations, performing from north to south of the country and abroad.

From popular parties, through corporate events and receptions of the most elite layers of Brazilian society, His songs mark epochs, which proves that The Fevers is marked in the hearts of their fans and in Brazilian popular music. This fact is independent of social class and highlights the cult side of the band, confirming the results of a survey on TV Globo's Fantástico program: The Fevers is the "Most Popular Band in the Country". Nowadays the band performs in Brazil performing all the great successes of their career with Liebert, Luiz Claudio, Rama, Otávio Monteiro and Claudio Mendes.

Golden Boys is a vocal group of the Jovem Guarda movement in Brazil.[1] They are originally a doo-wop quartet, formed by three brothers: Roberto (who died in 2016), Ronaldo, Renato Corrêa, and a friend, Waldir da Anunciação, who died in 2004, whom the Corrêa brothers met at Escola Ferreira Viana. With the group's success, Waldir was introduced as a "cousin" so that the members would seem to belong to the same family.

Historic

The Golden Boys began their career at a very young age, around 1958, as a Brazilian version of the American ensemble The Platters. They stood out in radio and television presentations, and, inspired by the North American quartets, they recorded several albums aimed at young audiences.

The brothers Roberto, Renato and Ronaldo also acted as composers of successful songs recorded by other artists, as well as being producers. The Golden Boys toured in the 1960s through countries in South America and recorded several albums.

The biggest hits were brought together in a two-volume collection of the Best Moments series. Some of these tracks are "Cabeção" (Roberto Corrêa/Silvio Sion), "Alguém na Multidão" (Rossini Pinto) and versions of Beatles songs, such as "Michelle" and "Ontem" ("Yesterday").

After dedicating themselves to the Brazilian "iê-iê-iê", in the late 60s and early 70s they participated in several albums by artists from Brazilian popular music and pop-rock, albums that in the future would become cult and object of desire from collectors, such as the classic Carlos, Erasmo by Erasmo Carlos, on Marcos Valle's records, and even from the album A Matança do Porco by the progressive rock group Som Imaginário.

The younger brothers formed the Trio Esperança, with Regina, Mario and Evinha, later replaced by the younger sister, Marizinha.

Grafite is a Brazilian band that was founded in 1982. The band began to gain prominence shortly after it was founded, appearing in several Brazilian television talk shows, especially the one starring the presenter Chacrinha, who was responsible for delivering its six albums of gold. It was formed by Chico Donghia, Humberto Donghia (Tuca) and Paulo de Tarso Donghia and is still active today, whose biggest hit was the song "Mamma Maria".

The formation that achieved success in the 1980s also had the participation of Cláudia Diniz and Sônia Mattos. Grafitte totaled more than 2000 presentations in live shows in its career. Today, Grafite has more than 10 million views on the internet. And even today, the success Mamma Maria gets more than 5,000,000 views on You Tube and about 200 plays on Brazilian radios daily.

Historic

80's, launch and heyday

Banda Grafite was founded in mid-1982 by the brothers Chico Donghia, Paulo de Tarso and Humberto Donghia, featuring hits Seu Lugar (1983, composition by Chico Donghia) Siga-me (1985, by Vinícius Cantuária, recreated with the production of renowned conductor and arranger Lauro Salazar) and the hit Mamma Maria (1984, by Minellono and Farina, with a Portuguese version by Paulinho Camargo), originally recorded by the Italian trio Ricchi & Poveri, rearranged by conductor Lincoln Olivetti, reaching the top of the national charts for several months, with thousands of executions on all radio and television stations throughout Brazil, as well as executions in Portugal.

Grafite, whose original formation also included Cláudia Diniz, Sônia Mattos and Celso Escobar (replaced a short time later by Paulo Morais), began to gain prominence appearing in several Brazilian television audience programs, especially the one starring the presenter Chacrinha, being awarded 6 gold records in the program Cassino Do Chacrinha (Rede Globo de Televisão), program in which the band has performed more than 40 times, becoming the biggest stage of their performances on television. The Band also performed hundreds of musical performances on TV programs from other stations, such as Perdidos na Noite (hosted by Fausto Silva), Raul Gil Program, Gugu Program, Sílvio Santos Program, Hebe Camargo, Barros de Alencar, Flávio Cavalcante, Bolinha , Xou da Xuxa and Jota Silvestre. In 1989, he performed over two thousand presentations across the country.

90s and 2000s

Grafite performs hundreds of shows in the 90s. In 1992, they started recording the LP Ninive (Oficina do Amor), focused on religious music, being officially released in 1993.

In the early 2000s, they brought to the public the show "Beatles in Concert", a period that resulted in two performances at the Cavern Club of Liverpool, England, and several performances, for years at the Municipal Theater of Niterói (RJ)

In 2007 the band Grafite released the DVD Festa Ploc 2, recorded at Circo Voador/RJ, with great hits from the 80s.

In 2009 they performed a presentation that featured nineteen of their songs and called "Grafite História 1982-1989". The following year, in partnership with Santa Catarina singer Marília Dutra, the band, again with Chico Donghia, Paulo de Tarso Donghia and Humberto Donghia in formation, re-recorded the classic hit of the 80s, Mamma Maria, debuting in the soap opera Malhação, on Rede Globo . Since 2012 with the current lineup, Grafite recorded and released the Beatles Boleros album, in June 2017, on digital platforms by the Seven Art-Sony Music label.

Since April 2015, the band has been presenting the show Beatles Flashback, in honor of the eponymous group, the Beatles.

Los Hermanos is a Brazilian alternative rock band, formed in Rio de Janeiro in 1997. The group's sound was heavily influenced by underground bands from the 1990s, such as Acabou La Tequila, Carne de Segunda and Mulheres Q Dizem Sim, among others, and by the sound of foreign bands like Weezer and Squirrel Nut Zippers

Story

1997 - 1998: The beginning and the repercussion

Until then, students from the Pontifical Catholic University of Rio de Janeiro (PUC-Rio), Marcelo Camelo (journalism) and Rodrigo Barba (psychology) formed a band that counteracted the weight of hardcore with the lightness of lyrics about love. In addition, the band had a saxophonist and, later, keyboardist Bruno Medina, an advertising student at the same college, was incorporated into the group's formation. With the entry of musicians Rodrigo Amarante (vocals, guitar and percussion) and Patrick Laplan (bass) and with the departure of three musicians from their formation (trumpeter Márcio and saxophonists Carlos and Victor), in 1997 the band recorded its first materials: the demos "Chora" and "Amor e Folia".

The demos reverberated in the underground scene in Rio de Janeiro and, later, Los Hermanos were invited to play at "Superdemos", a great independent music festival in Rio, and at the Abril Pro Rock festival in Recife, considered one of the festivals that most reveal artists nationals.

1999 - 2001: Los Hermanos and the success

In 1999, the band signed with Abril Music and released their first album, the homonymous Los Hermanos, which reverberated among the young audience, identified with the Jovem Guarda style lyrics, mixed with a musical group influenced by rock, ska and samba. The album's success was driven by the song "Anna Júlia", chosen - by the record company - as the first single of the work. The album was produced by the famous producer Rick Bonadio, known for making bands-phenomena. According to Bonadio, he was responsible for convincing the band members to include the song in the selection of the album's final repertoire. The single is inspired by a passion of the band's producer and took the band not only to radio stations across the country, but to various events, such as agricultural fairs, football stadiums, and micaretas, and playing to more than 80 thousand people in some festivals in the country, even with a single album released. The band was a constant presence on popular live audience shows on open channels. In just one semester, "Anna Julia" was already in the top positions of the main radio stations in the country. Her music video, which featured actress Mariana Ximenes, was constantly shown in programs dedicated to the genre both on open channels and on MTV. That year alone, Los Hermanos had already sold 300,000 copies and had two singles on the hit chart, such as the aforementioned "Anna Julia" and the second single, "Primavera". The album also earned a 2000 Grammy nomination.

At the awarding of the 2000 Brazilian Music Multishow Award, Marcelo Camelo showed he was embarrassed to win over Chico Buarque in the best music category, with "Anna Julia". Embarrassed, he said: "Man, I don't even know what to say. I feel ashamed to win an award in a category in which Chico Buarque is competing."

In 2001, the song "Anna Júlia" was recorded by former Beatle George Harrison. Before his passing, Harrison teamed up with lead singer Jim Capaldi of Traffic to record an English version of the hit.

2001 - 2002: Me Alone Block

Two years later, in 2001, the group released the album Bloco do Eu Sozinho, also on Abril Music. Some of the songs on this album were played at Rock in Rio III. The band had lost bassist Patrick Laplan, alleging musical differences, who formed his own band, Eskimo. Bloco do Eu Sozinho surprised a large part of the audience for being an album (almost) without any traces of the previous one. To the band's sound, melancholic samba, bossa nova and other Latin rhythms were added. The euphoria of the first album was not repeated in sales and the band started to play in smaller venues, with the decrease of its audience. However, from that point onwards, the band gained a great ally in its journey, precisely the public, which showed itself to be increasingly loyal. Songs such as the first single "Todo Carnaval tem seu Fim", "A Flor", "Sentimental", among others, became hits apart from the commercial side. After some time of the release, the specialized critics would start praising the album, which gained notoriety in the middle after the divergence that existed between the band and the record company became known to everyone. Guitarist Rodrigo Amarante now has more space in the band, with compositions such as "Retrato Pra Iaiá", "Sentimental", "Cher Antoine" and "A Flor" (this one with Marcelo Camelo). This was also followed by participation in "Fordsupermodels" (the band played on stage, making the soundtrack for the fashion event), and in Luau MTV, in which songs from the first and second CD were included, in an acoustic version, and that it would later be released on DVD.

2003 - 2004: Ventura

Marcelo Camelo at Fnac in 2003.

The year of 2003 arrived and already at BMG, the Hermanos released the album Ventura. Previously called Bonança, it was the first Brazilian record to "leak" in its pre-production phase. The third album featured a multi-faceted Los Hermanos. From "Samba a Dois" to the pop rock of "O Vencedor" or the dialogues of "Conversa de Botas Batidas" and "Do Lado de Dentro", Ventura came with the status of the album that would consolidate the band on the national scene. The first single, "Cara Estranho", made a good presence on the radio and in video clip awards. Then came "O Vencedor" and "Último Romance", the latter by Rodrigo Amarante, who signed 5 of the 15 songs on the album and started to stand out as a composer in the scene. Singer Maria Rita, on her eponymous album, recorded three songs by Marcelo Camelo: "Santa Chuva", "Cara Valente" and "See Bem Meu Bem". The shows began to house a legion of fans who became the band's trademark. It was on the tour of the album Ventura, that the DVD Los Hermanos was recorded at Cine Íris - June 28, 2004, recorded in Rio de Janeiro, with a predominant repertoire of the album. It was at this time that the band recorded the soundtrack for the short film Castanho, by Eduardo Valente, in which the style of the album was very evident in the primitive version of "Conversa de Botas Batidas" and the song known only as "Tema do Macaco" .

In the band's performance at Video Music Brasil (VMB) in 2003, they were presented by singer and composer Caetano Veloso. When announcing the band, Veloso put on a false red beard, as did all the members of the front rows of the awards. Act classified as "mico" by keyboardist Bruno Medina.

In January 2004, the band performed on the TV show Domingão do Faustão, on Rede Globo. During the program, the band played the song "Anna Júlia", due to the insistence of the presenter Fausto Silva in saying that the band "never played" the song again. The band received an email from a fan, questioning and criticizing the presenter. This criticism was rebutted by keyboardist Bruno Medina, on the band's website.

In July 2004, vocalist Marcelo Camelo was attacked by vocalist Chorão, from the band Charlie Brown Jr.. The attack occurred in the arrivals hall at the airport in Fortaleza and the aggressor was arrested by the Federal Police. Charlie Brown Jr., even sending a note apologizing for the event, was sued by Camelo and had to indemnify the singer of the Rio de Janeiro band for moral damages and compensation for canceled commitments. The attack occurred because of statements by Marcelo Camelo and Rodrigo Amarante, to OI magazine, about the then recent advertising campaign for the Coca-Cola soft drink brand. At the time, the band from São Paulo was hired and, in the video, questioned a young man who did not agree with the items offered in the commercial.

2005 - 2007: 4 and hiatus

In 2005 comes the band's fourth album, 4. Produced by Alexandre Kassin, who signed the last two, the album showed a more introspective content and a more impactful approach to MPB. The record, however, would be considered "irregular" by the major critics. Whether on the guitar of "Sapato Novo" and the bossa of "Fez-se Mar", or the predominance of a nostalgic atmosphere in the lyrics of Camelo and Amarante, 4 divided the audience again: the band was in yet another direction. The album had as a single of great repercussion the song "O Vento" by guitarist Rodrigo Amarante. This single "Condicional" and "Morena" followed, both songs with music videos released at the same time.

In April 2007, the band announced an indefinite break from work, claiming the accumulation of many personal projects over their ten-year career. Two farewell concerts were planned, to take place on June 8 and 9, 2007, which would later be released on the CD and DVD Los Hermanos at Fundição Progresso - June 9, 2007. However, due to the great demand for tickets (which there were quickly sold out), the band decided to play an extra show on June 7th (a show that was not included on the DVD). The album was officially released in August 2008 in partnership with Multishow channel.

2009 - 2010: Sporadic meetings

Even in recess, the band performed twice at the Just a Fest festival, on March 20 and 22, 2009, in the cities of Rio de Janeiro and São Paulo, respectively. In concerts, he opened with the German band Kraftwerk for the British band Radiohead.

In 2010, the band began a mini-tour through the Northeast. The shows in Fortaleza (in Ceará Music), Salvador and Recife were confirmed by Bruno Medina in his column on the G1 portal. In October, the band played at the SWU festival, held in the interior of São Paulo. Despite this small break in the hiatus, no new album news has been confirmed.

2012 - 2015: Tours

In November 2011, Bruno Medina published in his personal blog, on G1, that in 2012 Los Hermanos would go on tour, the dates coincide with the 15th anniversary of the band.

"I recognize that, for a good few days, I've been thinking about the best way to start writing this post that you are now reading; and no wonder, after all, I was delegated the delicate mission of making public a news that will surely leave many jaws hanging around, starting with my own. Yes, although the circumstances directly involved me, it was with surprise that I witnessed the chain of happy coincidences, without which nothing I have to tell you would have been possible. , I think I've done enough suspense, so it's time to stop stuffing sausages and get down to business. It's with enormous satisfaction, a certain butterflies in my stomach and the expectation of awakening some smiles throughout Brazil that I announce: 2012 will be the year of tour from Los Hermanos.

The tour took place in 12 cities in Brazil.

On December 5, 2014, the band announced two shows at yet another members meeting. The presentations took place on October 30 and 31, 2015 to commemorate the 450th anniversary of the city of Rio de Janeiro. At the request of fans, the band also toured Brazil.

2019: New return

In late December 2018, the four members announced the band's new tour. In 2019, the debut album turns 20 years old. The tour's debut is scheduled for April 5, at Arena Fonte Nova, in Salvador.

On March 30, 2019, the band played their first show since 2015. At Lollapalooza Argentina, the band played songs from their four albums.

On April 2, 2019, after 14 years, the band releases the single "Corre, Corre".

The following month, on Saturday night, the 4th, the band performs a great show at Maracanã and plays 26 songs, celebrating the entire discography. The show was broadcast live on the pay channel Multishow.

The tour features a standardized setlist. Where some shows were opened with "A Flor" and ended with an encore of "Deixa o Verão", "Azedume" and "Pierrot.".

According to the website setlist.fm, at the Maracanã show, the show consisted of 10 songs from the album Ventura, 6 songs from the album, 6 songs from Bloco do Eu Sozinho, 4 songs from Los Hermanos (debut album) and the single " Run Run". Of the 27, Marcelo Camelo sings 16, including "A Flor", which has the participation of Rodrigo Amarante, who in turn sings 11 songs from the concert.

On May 14, 2020, the band releases their second live album Los Hermanos 2019, recorded during the tour celebrating the 20th anniversary of the first album.

Members

Rodrigo Amarante - vocals, guitar, percussion, bass

Rodrigo Barba - drums, percussion

Bruno Medina - keyboard, backing vocals

Marcelo Camelo - vocals, guitar, bass

Os Incríveis is a Brazilian rock band formed in São Paulo, in 1962. Initially, the group used the name The Clevers - following the fashion of the time for names of ensembles in English - and achieved some success at the time with versions of Italian songs and instrumental songs, coming to command a television program. In 1964, they played as a support band in a presentation that Rita Pavone made on Brazilian TV and received an invitation from the singer to accompany her on a European tour. When they return, they start a fight with their manager - radio broadcaster Antônio Aguillar - who takes them to Argentina for a season and change the band's name. They continue to be successful under the new name, releasing albums and singles, participating in TV shows - such as Jovem Guarda, and even starring in a movie - Os Incríveis In This Crazy World - directed by Brancato Júnior. In the late 1960s and early 1970s, they released a series of hits with national impact, such as "The Millionaire", "Minha Oração", "It Was A Boy Who Like Me Loved the Beatles and the Rolling Stones" and "Eu Te I love, My Brazil". However, due to pressure generated by the success of this last song - from the press, the government and the record company, the band ended its activities in early 1972.

The following year, Mingo, Nenê and Risonho resumed the group accompanied by studio musicians and released 3 albums and several compacts. In 1981, the musicians from the original lineup got together to release one last album and split up again. In the early 1990s, some members of the band even performed in shows and television shows such as The Incredibles, but no new albums were recorded. In 1995, Netinho produced the show Novo de Novo - to commemorate thirty years of the debut of the Jovem Guarda program - and tried to bring the band together, but, faced with the refusal of several members, he decided to set up the ensemble with new musicians. From this date onwards, between quieter periods and more busy ones, the group continues to perform throughout the country, releasing a DVD in 2015 in celebration of the 50th anniversary of the band's name change. In 2018, they released their first album with unreleased material since 1981 and continue to play throughout the country regularly.

Career

The Beginning: The Clevers

Domingos Orlando (Mingo), Waldemar Mozena (Laughing) and Demerval Teixeira Rodrigues (Neno) were three teenagers from São Paulo who met Antônio Rosas Sanches (Manito) - who lived in the same city, but who was born in Vigo, Spain - and decided to assemble a band with him. The encouragement came from the Manito family of people who were always playing instruments and singing. Everyone liked rock - and the derivative styles that were in vogue, like the twist. The difficulty was in finding a drummer, as Mingo and Risonho played guitar; Neno played bass and Manito played almost any wind instrument or keyboard. It was then that the quartet met Luiz Franco Thomaz (Netinho) - who was born in Itariri and had come from Santos to study - and, upon discovering that he had already played drums in an orchestra, invited him to join the group. But there was one condition: he needed to have a battery. Netinho called his grandfather asking for the instrument as a gift and, from then on, carried the nickname for life.

So, in 1962, the five began to rehearse and play at parties. The repertoire was influenced by the songs that were successful at the time: twist, surf music and other instrumental rocks, influenced by groups like The Shadows and The Ventures. At parties, they benefited from the fact that some of them had already played in other groups that were relatively successful: The Jet Blacks and The Jordans. Thus, the following year, in one of these presentations, they were heard by radio host and presenter Antônio Aguillar, who was in charge of a TV program called Ritmos para a Juventude, shown by TV Paulista. The presenter used the program to promote rock bands that he then went on to manage. And Aguillar was already working with those two groups when he met the quintet. Soon, the presenter sponsors the group, giving them the name of The Clevers and getting a contract to record some singles for the record label GEL, through the Continental label, of the artistic director Diego Mulero - the Palmeira of the duo Palmeira & Biá.

Success

In August 1963, they released their first single, a 78 RPM with "Afrika" and "El Relicario", immediately bursting with the B side. After initial success, the label and manager pressured the boys to record something singing also. Thus, it was released in October "I Want You Baby" / "Look at My Eyes", with Mingo taking over the vocals. It was also followed by another 78 RPM in November - with "El Novillero" and "Maria Cristina" - and an LP in October: Encontro com The Clevers (Twist). At the end of November, Folha de S.Paulo is already congratulating Aguilar for discovering the group that was most successful at the time. In early January 1964, they embarked as the main attraction on a maritime cruise - the Princesa Leopoldina - that toured several cities in Brazil, such as Santos, Rio de Janeiro, Belém and Manaus.

In early 1964, while they are on the cruise, the label makes several releases to build on the success. Soon, three more 78 RPM come out: "Jalousie" / "Veneno" in January; "Il Tancaccio" / "Clever's Surf" in April; and "Girl of My Dreams" / "Se mi Vuoi Lasciari" in May. In addition, there is the release of two double singles: Encontro com The Clevers (Twist), containing material from the first album, comes out in February; and The Clevers with Hully Gully - in which the label is looking to hitch a ride with trendy dance in May. Finally, at the beginning of the year, the group's second studio album was also released: The Incredibles. With the return of the quintet after the cruise and the continuity of success, in June they recorded their third album - Os Incriveis Vol. 2 - which is released the following month and garners favorable reviews for the group.

Rita Pavone

In June, the news came out that Rita Pavone - Italian singer who was making huge success in Brazil with her song "Datemi un Martello" - would come to the country to perform in São Paulo as part of her world tour that would pass through South America - would perform before, also, in Buenos Aires.[8] Upon hearing the news, Antônio Aguillar - whose program was already called Reino da Juventude and was shown by TV Record, after a brief stint on TV Excelsior - went to talk to Paulo Machado de Carvalho, his boss, to get the singer an appearance on his program . The owner of TV Record went to talk to Teddy Reno as soon as the singer arrived in Brazil, on June 19, and an appearance by Rita on Aguillar's program and another on TV Rio, an associate of Record in the capital of Guanabara, was agreed upon. So, the next day, Rita attends the recording of the program - which would be shown on Sunday afternoon, singing accompanied by the quintet. The singer and her manager are so fond of the band's performance that they invite them to be the support band at the shows Rita would do at Teatro Record. Thus, the Clevers rehearse with the singer on Monday and accompany her in shows held in São Paulo - as well as a lightning performance in front of the TV Rio building, on June 25, and at a party at Clube Atlético Mount Lebanon on the 26th

After the performances, the ensemble was invited by Rita and her manager to tour more than 30 European cities, starting in August and ending with the closing show of the 25th Venice International Film Festival on September 10th. They traveled to Europe in the company of Brancato Júnior, who would be the band's representative there. While they were in Europe, they bought top-notch equipment for the group. While the group was in Europe, their label did not stand still and set about releasing a single single - the first in the band's career - with "Datemi un Martello" and "Sul Cucuzzolo", in August, and a double single, in September: The Clevers Internacional, After the band's return, the double single Veneno was also released.

This trip gave rise to a rumor about a relationship between the singer and the band's drummer, Netinho. The relationship was always confirmed by the Brazilian - who even talked about marriage at the time, but Pavone never commented on the relationship. What is certain is that the story earned - and still does - a lot of press coverage for the group. Furthermore, Rita Pavone would end up marrying four years later, in 1968, to her manager.

name change

With the group's return to São Paulo, in September, the musicians decided to change their manager, separating from Antônio Aguillar and choosing Brancato Júnior to be their new representative. This provokes a scuffle, with Aguillar accusing Brancato of "poisoning" the musicians to "steal" his band. As a result, Aguilar forbids them to use the name The Clevers that he had registered in July as his property. Initially, the band and Brancato agree to change the name to Os Incríveis, making the announcement to the press in November. However, the label resists the idea of changing the name of the group that was recording material for a new album release in January. Furthermore, after the disagreement, Aguillar had also registered the brand Os Incríveis through which he produced the LP's that were released by the group. Thus, a legal battle over the band's name begins, which would only end in July 1965, when the parties agree with Aguillar to keep the "The Clevers" brand and give the "The Incredibles" brand to the group and its new manager.

While the court fight was still going on, the label released a new single in January - featuring "In Ginocchio da Te" and "Raunchy", and the band's fourth album in the same month: Dancing with The Clevers - Os Incredibles Vol 3. The album was, again, reviewed by Folha, but the group drew more attention due to the legal dispute than due to the content of the disc. The band, on the other hand, accompanied Italian singer Stella Dizzy on her appearance on TV Rio in December and traveled to Argentina to fulfill commitments there. What should have been a short season lasted until the end of May, when they returned to Brazil. In Buenos Aires, they played, promoted the band and signed a contract with CBS Argentina to record and release an album there: Los Increíbles, which would only be released in Brazil in February 2019.

The Young Guard and success

The success came during the Jovem Guarda period, with popular songs such as "O Milionário", "Minha Oração", "Era um Garoto Who, Como Me, Loved the Beatles and the Rolling Stones" - a Brazilian version of the Italian song "C 'e eat a regazzo me loved Beatles and Rolling Stones", by Gianni Morandi - and "Eu Te Amo, Meu Brasil", the latter being a song of exaltation of the Brazilian homeland that was a huge popular success during the military government of General Médici .

the end of the band

Throughout the 1970s, former members of Incríveis would form other important Brazilian rock bands, Netinho formed the band Casa das Máquinas and Manito together with Pedro Baldanza and Pedro Pereira da Silva formed the famous progressive group Som Nosso de Cada Dia.

Mingo, Nene and Laughing

meeting and new end

the return

Between 2001 and 2005 the group met again on a few occasions.

Legacy

In 2005, "Os Incríveis" was one of the bands chosen to be honored on the album "Um barzinho, um violão", where songs from highly successful bands from the 1960s and 1970s were re-recorded. The song "O Vagabundo" was chosen. performed by the band Engenheiros do Hawaii.

Members

current formation

Rubinho Ribeiro: vocals and guitar (2010 - currently)

Sandro Haick: guitar (1995 - currently)

Wilson Teixeira: saxophone (1995 - currently)

Leandro Weingaertner: bass and vocals (1995 - currently)

Netinho: drums (1962 - 1972; 1981; 1995 - currently)

Inocentes is one of the first and most important Brazilian punk rock bands, formed in 1981 by former members of two bands on the outskirts of São Paulo, Restos de Nada and Condutores de Cadaver.

Story

Start

Inocentes was formed in August 1981 by three ex-members of Condutores de Cadaver, guitarist Antônio Carlos Callegari, drummer Marcelino Gonzales and bassist Clemente, the most experienced, as he had already played in Restos de Nada, first punk band from São Paulo. The three called rookie Maurício to take over the vocals.

The name Innocents would have been inspired by a song from the beginnings of English punk, by John Cooper Clarke, "Innocents", which was part of the Streets compilation of the label Beggar's Banquet. His influences were bands like Buzzcocks, The Vibrators, Generation X, New York Dolls, The Saints and Ramones.

In 1982, they were invited, along with Cólera and Olho Seco, to participate in the compilation Grito Suburbano, the first sound recording of Brazilian punk bands, released by the Punk Rock Discos label in 1982.

With the explosion of the São Paulo punk movement throughout Brazil, Inocentes achieved national projection and became one of its spokespersons. They became characters in the video documentary Garotos do Subúrbio, directed by Fernando Meirelles (director of Cidade de Deus), and shown at MASP in 1982, and in the short Pânico em SP, directed by Mário Dalcêndio Jr.. At the end of the same year, now with a new vocalist, Ariel Uliana Jr., they participate in the festival O Começo do Fim do Mundo, at SESC Pompéia, in São Paulo, which was recorded live and released on disc the following year as a compilation.

In 1983, they took part in the invasion of Rio de Janeiro by São Paulo punks, playing at Circo Voador with seven punk bands from São Paulo and more Paralamas do Sucesso, from Brasília, and Coquetel Molotov, from Rio de Janeiro. That same year, they entered the studio to record their first LP, Miséria e Fome; however, all thirteen songs composed on the album were censored, forcing the band to change the lyrics of three of them, which were recorded in the single Miséria e Fome. They participate in the medium-length film Punks, directed by Sarah Yakni and Alberto Gieco, and at the end of the year, as a trio with Clemente on vocals, the band ends up on the stage of Napalm (the precursor of Madame Satã nightclub), due to the directions that the punk movement had taken over (the fights between gangs increased every day, there were no more shows and zines).

Inocentes returned in 1984 with a new line-up, Antônio "Tonhão" Parlato on drums, André Parlato on bass, Ronaldo dos Passos on guitar and Clemente on vocals and guitar. And also with a new proposal, a sound closer to post-punk and the objective of playing beyond the borders of the punk movement, being part of the so-called rock in São Paulo with bands like Patife Band, Ira!, As Mercenárias, Voluntários da Pátria, Smack, 365, among others. They played at Lira Paulistana, Zona Fantasma, Via Berlin, Rose Bom Bom and Circo Voador, in Rio de Janeiro, where they opened a concert by Legião Urbana.

That same year, Grito Suburbano was released in Germany under the name Volks Grito, by the label Vinyl Boogie, and the band was included in the compilation Life is Joke, which featured punk bands from all over the world, released by the label Weird System, also from Germany. .

The years at Warner

In 1986, Branco Mello dos Titãs takes a demo of them to Warner, who hires them, and releases the mini-LP Pânico em SP, produced by Branco and Pena Schmidt, becoming the first Brazilian punk band to record for a multinational. The album is well received by the media and the band tours all over Brazil for the first time. Sales at Warner are good, but not as expected by the label. Despite this, the band wins respect and audience all over the country. Pânico em SP presents a cleaner sound, but without losing the group's punk rock roots, including the re-recording of "(Salvem) El Salvador", from the single Miséria e Fome, and old songs that had not yet been recorded, such as ska "No Acordem a Cidade", which was also the band's first music video. Due to the band having signed with a multinational, at the time some punks said they were "sold" into the system. This album was later chosen by Rolling Stone Brasil as the sixth best Brazilian punk rock album.

The second album by Warner, Adeus Carne, came out in 1987 and was produced by Geraldo D'Arbilly and Pena Schmidt. It contains songs that played on rock radio, such as "Pátria Amada" (which became their second music video), "Drums" and "Cidade Chumbo". The launch show, held at Center Norte, in the mall's parking lot in the north of São Paulo, brings together more than ten thousand people. Despite all this, the label leaves the band aside for considering it "difficult" to work with.

The third album by Warner only came out in 1989, produced by Roberto Frejat, from Barão Vermelho. According to the band, it's a somewhat confusing record, from the cover, where the band appears naked and handcuffed, to the content, a mix of rock'n'roll, punk rock and rap. All of this was the result of the pressure exerted by the label on the band, which makes the internal atmosphere heat up, making it unbearable. The cover was the result of the band's attempt to persuade the label not to put the four of them on the cover again, but they loved the photo and it ended up coming out anyway. The recordings were somewhat tumultuous and the band preferred to forget about the release shows in São Paulo and Rio. The result of all this confusion was the departure of Tonhão and André Parlato, replaced by César Romaro on drums and Mingau on bass, and the departure of the band from Warner.

90's

In the early 90's they were without a record label, with few shows and little money. The band took increasingly distant paths from the punk rock that consecrated it. In 1991, a demo with the song "The Black Man" hit 89FM radio and played non-stop. The music, a mix of punk rock, rap and rock, conquered new fans and opened new horizons, and in 1992, they released Estilhaços, an almost acoustic album by the Cameratti label. For the first time, the band attends the concert circuit of the Secretariat of Culture of the City of São Paulo, performing several free concerts in culture houses on the outskirts of the city. The track "Hungry" plays on rock radio and the band returns to tour.

In 1994, the punk rock roots started to return in the album Subterraneos, released by the Eldorado label. The band participates in Mirella Martinelli's short film Oppression, where she plays herself and Clemente is murdered onstage by a bunch of Nazi skinheads. The film wins several awards around the world. At that time, Clemente recorded a version of "Pânico em SP" with Thaíde & DJ Hum, which ended up changing the lyrics and name to "Testemunha Ocular". The song is part of the compilation No Majors Baby, produced by Marcel Plasse for the Paradoxx label, and is the first official collaboration between rock and rap musicians in São Paulo.

Inocentes performs the opening show of the presentation that the Ramones performed at Olímpia, in São Paulo. There were three days of brawling, with Calegari returning to the band, this time taking the bass instead of Mingau, who went to play with Dinho Ouro Preto. The shows had a great repercussion and, when the band was getting ready to record their new album, César Romaro and Calegari came out. Ronaldo summons Full Range drummer Nonô, and Clemente calls an old friend to take over the bass, Anselmo Guarde (former SP Caos singer and former bassist for Viúva Velvet and Fogo Cruzado). With this formation, at the end of 1995, the band entered the studio and recorded the album Ruas, which was released in 1996, by the label Paradoxx. The new album resumes the punk rock vibe. The band plays in the first Close-up Planet with Sex Pistols, Bad Religion, Silverchair and Marky Ramone, who becomes friends with the band and shares several shows in the countryside. The performance at Close-Up Planet reverberates well and once again hit the road, reaching Recife, where they perform at Abril Pro Rock in 1997.

In 1998, they entered the studio and recorded Embalado a Vácuo. The album was released by Paradoxx, which sold it to Abril Music, which re-released it in 1999, with a new cover and two bonus tracks. The song "Cala a Boca" plays on rock radio, and reaches the number one spot for two months on radio Brasil 2000, and is only outflanked by Kiss, which arrives in Brazil for a show at the Interlagos race track, as part of the tour of the recent -launched Psycho Circus. They perform two shows, one with Ultraje a Rigor, at USP, and the other with Ira!, at SESC Itaquera, bringing together more than ten thousand people per show. Their last album by Abril Music was "O Barulho dos Inocentes", produced by Clemente and Rafael Ramos, with versions of several Brazilian punk songs that the band liked. They even made a version of "I Wanna Be Your Boyfriend" by the Ramones. A version of The Clash's "Should I Stay or Should I Go" was also recorded, which did not come out on the album.

currently

In January 2001, they recorded a live album at SESC Pompéia, in São Paulo, called 20 Anos ao Vivo and was licensed to the RDS label. They played the opening show for Bad Religion at Credicard Hall, and soon after Ronaldo dos Passos decided to leave the band and was replaced by André Fonseca (from Okotô) on guitars. Nonô also leaves the band and starts a constant change of drummers.

Ronaldo left and played with Kid Vinil in Magazine returning some time later. André Fonseca (former Patife Band, Okôto, Inocentes e Titãs) and drummer Edgar Avian (former Grtando Hc, Predial and current Supla) also left, and Frederico Ciociola, Fred, was called up in his place. In 2004, again with Ronaldo, they recorded the album Labirinto for the label Attack Frontal, produced by the band. The first press sold out in less than a week and the song "Travado" starts playing on rock radio. From that same year, Clemente assumed the second vocal of Plebe Rude in place of Jander Bilaphra. Since then, it has been divided between the two bands.

In 2007, with Nonô back on drums and celebrating 25 years of career, the band recorded the DVD Som e Fúria, at Centro Cultural São Paulo. The record was only released in 2009 by the Monstro Discos label.

In 2011, in celebration of the 30 years of Inocentes and 25 years of Pânico em SP, the band's first album, WEA relaunched the band's first 3 albums (Pânico em SP, Adeus Carne e Inocentes). At the time, a commemorative mini-documentary was produced.

At the end of 2013 the band released Sob Controle, on Substantial Music. The album features two new songs, new versions of songs recorded in the commemorative edition of 25 years of Pânico em SP and live recordings of the group's classics.

Will! is a Brazilian rock band, formed in 1981, in the city of São Paulo. The band announced its disbandment in September 2007, but in 2014 it returned to the stage.

Owners of some of the greatest classics in the history of national rock, such as Núcleo Base, Changing Behavior, Nonsense, Aging in the City, Dias de Luta, Tarde Vazia, O Girassol, Eu Quero Semper Mais and Flores em Você, the opening theme of the telenovela O Outros, from Rede Globo in 1987, the band is named after the Irish Republican Army (English Irish Republican Army). After moving away from the media in the 1980s for preferring to remain tied to its punk roots, Ira! returned to the mainstream with the release of his Acoustic MTV in 2004.

Story

Suburb

In the late 70s, in the autumn of the military dictatorship, Edgard Scandurra, fascinated by punk rock and, in search of that sound, went to concerts on the outskirts of the city, to exchange information with the people. It was then that Edgard and his friend Dino Nascimento decided to form a band that played punk, without forgetting Led Zeppelin and Jimi Hendrix. The band Subúrbio was born there. Today, a music critic, Régis Tadeu was a member of the band as a drummer. At that time, Edgard studied at Colégio Brasílio Machado, where he bumped into Marcos Valadão Ridolfi, nicknamed Nasi. Even without knowing him, Edgard felt sympathy for the way he dressed, and in one of these meetings the two ended up meeting, and becoming friends.

Later, Edgard called Nasi to participate in the Suburb, in the festhits of Ira! In 1980, Edgard was drafted into the army and it was there that he composed "NB" ("Basic Nucleus").

Will!

In 1981, Nasi would call his friend Edgard to play a show at PUC-SP and there Ira would appear, still without the exclamation point. Drummer Fábio Scattone and bassist Adilson Fajardo completed the formation.

Although many believe that the name "Ira" was inspired by the Irish Republican Army, it is nothing more than a feeling of anger. As there were many mistakes about the name, an exclamation point was added in an attempt to eliminate other interpretations, thus changing it to "Ira!".

Two years passed before producer Pena Schmidt discovered the band, at that time he counted on Charles Gavin (who would become a member of the Titãs) on drums and Dino (a former Subúrbio bandmate) on double bass, and took them to the record company. Warner, where Ira! he would record his first single, IRA, which featured the tracks "Gritos na Multidão" and "Pobre Paulista".

The first LPs

In March 1985, after changing Dino for Ricardo Gaspa, and Charles Gavin for the former titan André Jung, Ira!, with an exclamation mark, would record his first LP; Behavior Change, which has 11 tracks, including "Nucleo Base", "Nobody Needs War", "Away From Everything" and "Nobody Understands a Mod".

The following year, with greater prestige both inside and outside the label, the band would release the LP Vivendo e Não Aprendendo. The album, released in September, featured tracks such as "Envelheço na Cidade", "Vitrine Viva", "Pobre Paulista" and "Gritos na Multidão", the last two being recorded live on Broadway in São Paulo. The song "Flores em Você" was featured on the soundtrack of the soap opera O Outros on Rede Globo.

Four months later, the band would resurface with the release of the album Psicoacústica. Among the eight long tracks were "Rubro Zorro", "Manhãs de Domingo", "Sick of Rock 'n' Roll", and a round rap "Advogado do Diabo". On the way to the fourth album, Edgard Scandurra recorded a solo album called Amigos Invisíveis, where he played all the instruments.

The 90's

The first album of the 90's was Clandestino. Later, they released the album Meninos da Rua Paulo, in 1991. The album contained a version of "Você Still Pode Sonhar", a Portuguese remake of "Lucy in the Sky with Diamonds", by The Beatles, originally recorded by the band Raulzito and the Panteras, on the album of the same name, in 1968. In 1993, Nasi released his first solo album with the parallel project Nasi & os Irmãos do Blues. In the same year, the group released its sixth album, Música Calma para Pessoa Nervosas, a work that would close a cycle of Ira! with Warner. It was self-produced by the group.

In 1996, already on the Paradoxx label, the group released the album 7 (the band's first CD, before they were LPs). As a bonus track, the album featured "Nasci em 62", taken from a concert with the participation of Arnaldo Antunes. The album was recorded shortly after a four concert tour in Japan that culminated with a performance at Club Cittá. At the end of the year Edgard released his second solo album, Benzina.

In May 1998, Ira! launches You Don't Know Who I Am. Leaving the Paradoxx label, Ira! develops the embryo of what would become their ninth album by producing a demo CD, based on covers, which would eventually lead the group to Abril Music. In November 1999 Ira! launches the album of covers Isto É Amor.

2000's

In 2000, the band released the MTV ao Vivo recorded at the Memorial da América Latina in celebration of their twenty-year career. The wrath! performs at Rock in Rio III, in 2001, for 250,000 people. Ricardo Gaspa launches his surf music side project Huntington Bitches. In 2001, the group released the CD Entre Seus Rins, with only new songs.

In 2004, they released Acústico MTV, which brought four new tracks and also guest appearances from three different generations in the recording: Os Paralamas do Sucesso, Samuel Rosa and Pitty.

In 2007, returning to unpublished, the group released the album titled Invisível DJ. Altogether the disc contains 12 tracks, with the re-recording of "Feito Gente", composed by Walter Franco in the 70s.

Fights, group breakup and solo projects

In 2007, after fights with his brother and manager Airton Valadão, Nasi withdrew from the band.

With that, the former members of Ira! fully assumed their projects, until then, parallel. Nasi went solo and released four albums, two DVDs and his biography A Ira de Nasi, written by journalists Mauro Beting and Alexandre Petillo and published by Belas Letras in mid-2012. He often participates in concerts by other bands and specials.

Edgard Scandurra released his DVD Ao Vivo, was guitarist for singers Bárbara Eugênia and Karina Buhr, was part of Arnaldo Antunes' support band, returned to the band Smack - another one he was part of in the early 1980s, in addition to the EST projects, together with the singer Silvia Tape, Les Provocateurs, Pequeno Cidadão, A Curva da Cintura, alongside Arnaldo and the Mali musician Toumani Diabaté and participated in shows by the band Cidadão Instigado.

André Jung formed the band FAUT, alongside João Gordo; the Urban ToTem project; and was producer of some national pop artists that emerged in the late 2000s, such as the band Stevens and singer Manu Gavassi, in addition to being sponsored by Pearl Drums.

Gaspa returned to the band Gaspa & Os Alquimistas, recorded his first solo album entitled Gaspa The Bass Player, with guest appearances by Marcelo Nova and Wander Wildner, and performed musical projects alongside Luiz Thunderbird.

Nasi's reconciliation with his brother and ex-manager

On June 27, 2012, Nasi and Airton Valadão Júnior, brother of the singer and former manager of the band, announced to the press a reconciliation after five years of public and judicial fights. The brothers ended the lawsuits that were moving against each other and the Ira! that belonged to Junior, went back to Nasi. At the time, the band's return to the stage was not announced. Earlier this year, on his Facebook page and blog, the vocalist said he didn't want to return with the group, but was willing to renew his friendship with Edgard Scandurra.

The return and Rock in Rio VI

In mid-2013, the friendship between Nasi and Edgard Scandurra was resumed. Reconciliation was celebrated at a benefit concert held on October 30 of the same year, at Espaço Traffô, located in the Vila Olímpia neighborhood in São Paulo. The event had the special participation of Paulo Ricardo, Arnaldo Antunes, of the trumpeter Guizado, as well as a support band formed by the multi-instrumentalist Johnny Boy, on keyboards; Daniel Scandurra, son of Edgard, on bass; and Felipe Maia, from the Marrero band, on drums. Proceeds from the event were donated to Escola NANE, which specializes in children with learning difficulties. After this show, the possibility of a definitive return to the stage arose.

After a seven-year break, the band announces its official return in January 2014, however, without the presence of André Jung and Ricardo Gaspa, members of the classical formation. For the new tour, they were chosen: Johnny Boy on keyboards, Daniel Scandurra on bass and Evaristo Pádua on drums (member of the band that accompanied Nasi in his solo career).

Will! during your Ira tour! Folk performing in Belo Horizonte in 2016.

Since then, the group has been touring all over Brazil with the show Núcleo Base. The group also performed at Rock in Rio's Sunset Stage on September 18, 2015, the first day of the festival's sixth edition. The presentation, which united Rock, Hip-Hop and Soul Music, featured special guest appearances by Tony Tornado, icon of Brazilian black music, and rapper Rappin' Hood. The show honored Tim Maia, who died in 1998, with the song "Festa de Santo Reis".

In 2016, the band started the Ira! Folk, in an intimate format, with just guitars and acoustic bass. The show was released on DVD in November 2017, in partnership with Canal Brasil

current formation

Nasi - voice (1981-2007, 2014-present)

Edgard Scandurra - guitar and vocals (1981-2007, 2014-present)

Evaristo Padua - battery (2014-present)

Johnny Boy - Bass (2019-present) and Keyboards (2014-present)

Mamonas Assassinas, formerly called Utopia, was a Brazilian comic rock band formed in Guarulhos in 1989. Their sound consisted of a mix of pop rock with influences from popular genres such as sertanejo, brega, heavy metal, romantic pagode, forró, music Mexican and turns. The only studio album recorded by the band, Mamonas Assassinas, released in June 1995, sold more than 1 million 800 thousand copies in Brazil, being certified with a proven diamond disc by the Brazilian Association of Record Producers (ABPD). With a "meteoric" success, the band's career (under the name Mamonas Assassinas) lasted a year and a half, from October 1994 to March 2, 1996, when the group was the victim of a fatal air accident over the Serra da Cantareira , causing great national commotion. The band continued to influence the national music scene and was celebrated even decades after its disbandment.

Career

Utopia band

Start: band formation

Main article: Utopia (Brazilian band)

In March 1989, Sérgio Reis de Oliveira (who would later adopt the stage name of Sérgio Reoli), while working at the Olivetti typewriter company, met Maurício Hinoto, brother of Alberto Hinoto (who would later adopt the stage name of Bento Anthem). Upon learning that Sérgio was a drummer, Maurício decided to introduce his brother, who played guitar. From there, Sérgio met Alberto and they decided to create a band. At the time, Samuel Reis de Oliveira (who would later adopt the artistic name of Samuel Reoli), Sérgio's brother, was not interested in music, preferring to draw airplanes. However, when he saw Sérgio and Bento rehearsing at home, Samuel became interested in the music and started playing electric bass. Thus, the "kitchen" of the band was formed, with bass, guitar and drums. The three formed the group Utopia, specialized in "covers" of groups such as Ultraje a Rigor, Legião Urbana, Titãs, Paralamas do Sucesso, Barão Vermelho and Rush, among others.

Utopia performing in Guarulhos, 1990s.

Utopia started to present itself on the periphery of Greater São Paulo. During a concert held in July 1990 at Parque Cecap, a housing project in Guarulhos, the audience asked the trio to perform the song "Sweet Child o' Mine", by the American band Guns N' Roses. As they did not know the lyrics, they asked one of the spectators to go up on stage to help them. Alecsander Alves (who would later adopt the stage name of Dinho) volunteered to sing. Even not knowing the lyrics, his performance and embromation provoked great laughter from the audience. And that's how, with his crazed performance, he secured the post of vocalist for the band.

In 1990, through Sérgio, keyboardist Márcio Araújo (who later became known as "O Sexto Mamonas") was added to the group. The last member to join Utopia was Júlio Cesar Barbosa (who would later adopt the stage name of Júlio Rasec). Júlio was a friend of Dinho's and was incorporated to help him in the cover songs in English, as well as acting as a percussionist and carrying out wire and cable repairs for the band's equipment, when necessary.

With this formation, the band continued playing in places of little expression in São Paulo and region. In one of his interviews, drummer Sérgio Reoli revealed that the best shows for the band were the benefits because they didn't spend or earn money. Sérgio, also in an interview, says that they went to play a show in the interior and even slept on the stage, since the money was barely enough to pay for the van and on top of that, on the way back, Dinho made a joke to a girl directing the Kombi and broke the gearbox.

Rick Bonadio, Vinyl Recording and Commercial Failure

In 1992, the band met Rick Bonadio, and in his studio they produced the vinyl Utopia, their first and only independent album, consisting of 6 songs. Of the 1,000 copies produced, only 100 were sold. At that time, Márcio Araújo was studying civil engineering at the University of Guarulhos, and the routine of tests and trips became an obstacle for his studies and professional projects. As a result, he started missing Saturday rehearsals when there were college classes and weekday trips. For the same reason, he never recorded any of the tracks on the Utopia vinyl album, although he appears in the cover photograph. After Márcio Araújo left the band, Júlio Rasec became the keyboard player and back vocal of the band.

Gradually, the members began to realize that the antics and parody songs they did in rehearsals for fun were better received by the audience than "covers" and serious songs. Gradually, some musical parodies were presented in the shows, fearing the public's acceptance. The public, however, accepted the crappy songs very well. Utopia realized the key to the band's success.

Humiliation in Thomeuzão

The dream of the band Utopia was to sing in the main gym in the city of Guarulhos, the Ginásio Paschoal Thomeu (known as Thomeuzão), which only receives famous artists. Dinho and Júlio went to ask a person who took care of the events that took place in the gym, to do a preliminary for a concert by Guilherme Arantes, and they heard: "This is a gym for big bands, not for little bands". Vocalist Dinho, when barred, argued badly with authority and said that one day they would be famous, that the world goes around and, with that, the city would ask them to play there.

Changing profile and recording the demo tape

Main article: Killer Castor Beans (demo tape)

After realizing that they should change their profile, adopting a more comical vein, they recorded a demo tape with 2 songs. Rodrigo Castanho, producer and mastering technician, was the one who accompanied the recording, which took place at dawn in October 1994, in the former studio of producer Rick Bonadio, in the north of São Paulo. The musicians recorded the tracks “Mina (Minha Pitchulinha)”, which would later be known as “Pelados em Santos”, and “Robocop Gay”. According to Castanho, most of the lyrics were created at that time.

The songs were not completely ready and during that recording we were arranging the arrangements and lyrics. Dinho did most of the lyrics during the recording of the bases. Laughter and more laughter. Total mess, they were fun, spontaneous and at that moment the first songs were born. I had my hair cut almost bald and he nicknamed me Skinhead and even used that word in the song 'Robocop Gay' just to make fun of me (I never missed the joke).

Rodrigo Castanho, producer and mastering technician, on the recording of the demo tape.

The next morning, Brown met with producer Rick Bonadio, and praised the songs, saying he had "laughed all night" Bonadio, so he listened to the tracks and loved the songs (according to himself, "the funniest thing that I had already heard in my life"). Upon hearing "Mina (Minha Pitchulinha)", Rick imagined that it could be the band's first work song, but it would have to be less tacky and gain a more "rock n roll" sound.

Bonadio met with the group and suggested that the change in profile, in addition to the composition of the songs, should be complete, starting with the name. The names suggested by the musicians themselves were: "Um Rapá da Zé", "Tangas Vermelhas", "Coraçõezinhos Apertados" and "Os Cangaceiros de Teu Pai". And then Samuel suggested "Space Killing Mammons", which was reduced to "Surprising Mammons". This double meaning name fits perfectly with the band's new profile.

Besides the name, as the band started to adopt a more comical way, the members changed their names and their costumes, which became less rock'n'roll, and more caricature. In 2010, Rede Record, in an article by Arnaldo Duran for Jornal da Record, showed Utopia's first appearance on a television program. It was on the program Sábado Show, in the frame "Oficina", open to garage bands. In the images, it is possible to see the costumes of the musicians from Utopia. Bento, for example, appears with short hair and a cap. And the others with really long hair.

From the change of profile, they started to always perform dressed as Chapolin Colorado, with inmates, extravagant caps and dyed hair, and, of course, with a more playful posture on stage.

A new demo recording was made. "Mina (Minha Pitchulinha)" became heavier and was called "Pelados em Santos". "Robocop Gay" got a new mix and "Vira-Vira" was recorded for the first time.

Killer Castor Beans

Rafael Ramos and the contract with EMI

The band sent the demo tape with the three songs ("Pelados em Santos", "Robocop Gay" and "Vira-Vira") to three record labels, including Sony Music and EMI. Rafael Ramos, drummer for the band Baba Cósmica and son of EMI's artistic director, João Augusto Soares, liked the band's sound so much that he insisted on hiring it. Rafael gave tips to his father about new bands that sent their songs to the label.

At first, João Augusto Soares refused to sign with the band. But Rafael insisted, and on April 7, 1995, his father attended a concert by the band. As reported in the book Mamonas Assassinas: Blá, Blá, Blá - A Biografia Autorizada, "when João Augusto de Macedo Soares, 39, vice-president of record label EMI Odeon, his son Rafael, 16, and independent producer Arnaldo Saccomani finally arrived , Naked Moon nightclub was almost empty. It was ten thirty on the cold night of April 7, 1995."

After watching the show, João Augusto immediately signed a contract with them.

The eponymous album and commercial success

The logo of the band formed in Guarulhos.

However, before recording the disc, a problem arose: EMI wanted at least 10 songs for the CD. The band lied, stating that they already had 7 songs and that in 1 week they could compose the others, and in fact they only had the 3 sent to the label. In one week, they managed to compose 12 songs, totaling 5 more than the minimum required by the label. In May 1995, EMI sent all the members to Los Angeles, USA, to record their only album. There were to be 15 tracks, but one of them ended up not being included on the CD: the song "No Peide Aqui Baby", which is a parody of the song "Twist and Shout", by the Beatles, was censored due to the large amount of profanity. Rick Bonadio (nicknamed by the band "Creuzebek") was responsible for recording, releasing the musicians and also selling the shows. After recording the album, which was released on June 23, 1995, the album went unnoticed in stores. However, the next day, when 89 FM A Rádio Rock played the song "Vira-Vira", the Mamonas made a big break. It was the debut album that sold the most in Brazil and also the one that sold the most copies in a single day: 25,000 copies in the first 12 hours after the song was performed.

Despite the politically incorrect lyrics, oddly enough, the Mamonas were a tremendous success among the children's audience According to Eduardo Vicente, PhD in Communication Sciences from the University of São Paulo (USP) (in his article Segmentation and consumption: Brazilian phonographic production - 1965-1999) "apparently, the Mamonas phenomenon demarcated a different trend in children's songs, in which the clean look and the harmless lyrics of presenters (such as Angélica, Xuxa and Eliana) were replaced by political (and grammatical) inaccuracies, by the expressions of double meaning and the almost offensive appearance of figures such as Tiririca (Sony, 1996) and Rodolfo & ET (Virgin, 1998)".

Even so, there were those who wanted to reproach them. Considering the lyrics of the songs too indecent, a director of Radiobrás decided to ban their execution on the official radio network. The determination was withdrawn by order of the Radiobrás presidency. The director was fired.

With tremendous commercial success, they went on an exhausting tour, performing in programs such as Jô Soares Onze e Meia, Domingo Legal, Programa Livre, Domingão do Faustão and Xuxa Park. In February 1996, they were featured on the cover of Billboard, in an article about the unprecedented sales of their debut album. They played about eight to nine times a week, with performances in 24 of the 27 Brazilian states (Federal District included) and occasional two to three shows a day. The Mamonas fee has become one of the most expensive in the country, ranging between R$ 40 thousand, R$ 50 thousand, R$ 70 thousand and R$ 100 thousand. Consequently, EMI earned around R$80 million with the band. At one time, the band sold 50,000 copies a day.

Bento Hinoto and Dinho, both guitarist and vocalist in a show held in Fortaleza, Ceará, in December 1995.

Because they were then loved and admired by the public, every time they appeared on television, the audience tripled. As a result of this, there was a fight between the stations to have Mamonas Assassinas in their programs. According to Rick Bonadio, Rede Globo de Televisão tried to hire them for 3 exclusive years, but EMI, considering that this would jeopardize their business, stopped (it had previously barred, for the same reason, the sale of licensed products, which, therefore, were only released posthumously). At the time they played countless shows, they were nicknamed the "steam roller" because the other bands and artists were scared and didn't want to play in the same city they performed in, since everyone wanted to watch only the Mamonas. This success, however, caused a rejection from some music and journalistic circles.

The band's logo is an inversion of the Volkswagen logo, placed upside down (with the addition of a horizontal bar to form the A), thus forming an M and an A for "Mamonas Assassinas". Two vehicles of the German company are mentioned in the songs: in "Pelados em Santos", the Volkswagen Brasília, and in "Lá vem o Alemão", the Volkswagen Kombi. The Mamonas were preparing an international career, leaving for Portugal prepared for March 3, 1996.

5 years after the humiliation, the long-awaited show at Thomeuzão

In January 1996, they finally managed to fulfill their dream of playing at Thomeuzão, in Guarulhos, which years before had rejected them.

This show was marked by amateur videos that show the moment when Dinho sits on stage and in a tone of relief, sends an energetic message, full of positive energy and criticism to those who did not believe in his work, saying that one should never stop believing in their dreams, because Mamonas always had the dream of playing there (at Thomeuzão) and had the door shut in their faces. This show received an audience of 18 thousand people. "A judge did not want to let the children in, but so many people protested that he released them later," says Ana Paula Rasec, Júlio's sister.

On March 2, 1996, while returning from a concert in Brasília, the Learjet jet they were traveling on, model 25D with the prefix PT-LSD, crashed into the Serra da Cantareira, at 23:16, in an attempt to rush, killing all who were on the plane.

The funeral, on March 4, 1996, at the Parque das Primaveras cemetery, in Guarulhos, São Paulo, was attended by more than 65,000 fans (in some schools, there were even no classes due to mourning). The funeral was also broadcast on open TV, with channels interrupting their normal programming.

The accident

The aircraft had been chartered for the purpose of transporting the musical group to a concert at Mané Garrincha Stadium, in Brasília, and was under the command of pilot Jorge Luiz Martins (30 years old) and copilot Alberto Yoshiumi Takeda (24 years old). On March 1, 1996, he transported this group from Caxias do Sul to Piracicaba, where it arrived at 15:55. On March 2, 1996, with the same crew and seven passengers, it took off from Piracicaba at 7:10 am, bound for Guarulhos, where it landed at 7:36 am. The crew remained at the airport facilities, where, at 11:02 am, they presented a flight plan to Brasília, estimating takeoff at 3:00 pm. After two delayed messages, they took off at 4:41 pm. The landing in Brasília took place at 17:52. The take-off from Brasília, back to Guarulhos, took place at 9:58 pm. The flight, at level (FL) 410, took place without abnormality. On the way down, crossing FL 230, the aircraft with the prefix PT-LSD called the São Paulo Control, from which it started to receive radar vectoring for the final approach of procedure Charlie 2, ILS of runway 09R of the São Paulo-Guarulhos International Airport (SBGR). The aircraft showed a tendency to drift to the left, which forced the São Paulo Control (APP-SP) to determine new tests to enable the interception of the locator (end of the procedure). Interception occurred when blocking the external marker and outside the parameters of a stabilized approximation.

Without stabilizing on the final approach, the aircraft continued until reaching a point deviated laterally to the left of the runway, with a speed of 205 knots at 800 feet above the terrain, when it charged. The attack was carried out in contact with the tower, and the aircraft informed that it was in visual condition and in a left turn, to intercept the downwind leg. The tower oriented the aircraft to report entering the downwind leg in the south sector. The aircraft reported "northern sector". On the downwind leg, the aircraft confirmed that the tower was in visual condition. After a few calls from the tower, the aircraft responded and was instructed to return to contact with the APP-SP to coordinate its traffic with two other traffics on an IFR approach.

PT-LSD called APP-SP, which requested to inform its conditions in the sector. The PT-LSD confirmed that it was visual in the sector and requested "base leg lengthening", being then instructed to keep the leg upwind, awaiting the passage of another aircraft approaching by instrument. In the wind leg extension, in the North sector, at 11:16 pm, the PT-LSD collided with obstacles at 3,300 feet (1006 meters), at coordinates point 23° 25′ 52″ S, 46° 35′ 58″ W .

As a result of the violent impact with the saw, the aircraft exploded and all the occupants tragically died on the spot: Alexandre Alves, o Dinho; guitarist Bento Hinoto; keyboard player Julio Rasec; bassist Samuel Reoli; drummer Sérgio Reoli; the security guard Sérgio Saturnino, the Reco also called the guardian angel of the Mamonas; roadie (support technician and cousin of Dinho) Isaac Souto nicknamed Shure Lambers; the pilot Jorge Luís Martini and the co-pilot Alberto Yoshiumi Takeda.

Conclusions about the accident

What consummated the accident was a mistaken operation by the pilot Jorge Luiz Martins and his co-pilot, after a long layover of flights that passed through cities where the band's performances took place, according to CENIPA, center for investigations and prevention of aeronautical accidents, which so he concluded to explain the accident with the jet that caused the death of the five members of the group. What contributed to the accident was flight fatigue, malpractice on the part of the copilot who did not have enough flight hours for that type and model of aircraft and was not hired by the MADRID air taxi company, which transported the band, failure of communication between the control tower and the pilots, incorrect collating and phrasing of information provided by the tower. 10 kilometers from the International Airport of São Paulo/Guarulhos, the pilots asked the control tower for the landing procedure. After an unsuccessful landing attempt, the aircraft was launched and a new landing permit was requested, which was authorized by the control tower of that aerodrome. However, instead of turning to the right, where the Dutra Highway is located, due to communication failure and human factors, the pilots made a left turn with the plane, colliding with Serra da Cantareira.

Killer Castor Beans and the love of aviation

The Assassin Mamonas have always had a certain relationship with airplanes.

As a teenager, Samuel used to draw airplanes.

In the late 1980s, Sérgio, Bento and Samuel formed the band Ponte Aérea, which later became Utopia.

All members of the group lived near the São Paulo-Guarulhos International Airport.

On the homonymous album by the group Mamonas Assassinas, there is a thanks to Santos Dumont: "For having invented the airplane, otherwise we were still going to mix the album on foot" (the album was recorded and produced in the United States).

An excerpt from the song "1406" quotes an airplane: "You don't know how it breaks a heart to see your little boy crying wanting to have a plane."

There are records in which Dinho quotes the American singer Ritchie Valens, known for the song "La Bamba", who died in a plane crash on February 3, 1959 (in which the musicians Buddy Holly and The Big Bopper, known in the Brazil by the falsetto "That's What I Like" from "Chantilly Lace", sampled by Jive Bunny in a mix that takes this phrase as its title). In a video, Júlio and Dinho sing the song "Donna", by Valens. During an interview with Top 20 MTV, at the time led by the presenter Cuca Lazzarotto, Dinho stated that Mamonas Assassinas would not release a second album: "We're going to do a show in the interior and we're going to single-engine, have you heard of La Bamba?" .

On some occasions, the vocalist even took the co-pilot's place during the group's trips, even raising the hypothesis that Dinho was beside the pilot in the plane's cabin during the accident, in place of co-pilot Alberto Takeda. The games with a possible accident were constant, and several games with death were registered.

In an interview given in 1996, Sérgio said: “The plane we used to travel on crashed in Brusque, Santa Catarina, in November. Three people died. Human failure. the car after the show and also boarded”.

On March 2, 1996 (the very day of the accident), Julio told a hairdresser friend that he had dreamed of a plane crash. The testimony was recorded and had a lot of repercussion at the time.

The stagehand Isaac Souto (former gravedigger and cousin of Dinho) was on the plane and died in the accident after asking to change places with André Oliveira de Brito, Ralado, the musicians' "handyman" also known as "sixth mamona ".

Legacy

"They were successful being themselves"

In general, the Mamonas were successful among all age groups, even with "politically incorrect" songs that should not be played on the radio, because of the swear words (and even being formed by the same members of the "failed" group Utopia), and as if become idols of the children's audience.

According to specialized critics, the group's formula for success was based on lyrics with slapdash humor and eclectic songs, with a pop appeal, which parodied different styles, such as rock, heavy metal, brega and even the Portuguese turn, among others. For Rafael Ramos, the music producer who discovered Mamonas, “there was a lot going on at the time, but nobody did something so funny. What came next was copy. They were very charismatic and, besides, they arrived before a lot of people”.

Another question raised is what legacy they left behind, since the lyrics of their songs were appealing - such as that of "Robocop Gay", which suffered harsh criticism from LGBT groups - and even suffering harsh criticism from the specialized media, and even being tagged of ridicules and song clowns by the specialized critics.

For many, the joy and irreverent humor, marks of the behavior of its young members, led by the singer's natural comedy, combined with irreverent lyrics, exotic costumes and slapstick-style performance, was the legacy left by the group.

"The Mamonas Assassinas were the greatest flesh and blood heroes that Brazil has ever had. Heroes on stage, where they played without complaint up to three times a night. Heroes off stage, in our homes, where they made us happy with their cool songs and your mocking jokes."

Post-accident events

Licensed Products Released

The use of the name of the Mamonas Assassinas, under license authorized by the members of the families, was a reason for much dispute and speculation. The companies wanted to use the name of Mamonas, in food products, soft drinks, toys, clothes, sneakers and comic books, among others, since several pirated products were already being sold in droves. Therefore, in the understanding of businessman Sami Elia, there was no opportunism in the commercial use that companies wanted to give to the Mamonas brand, since the families of the band members, from the lower middle class of Guarulhos, had every right to enjoy the success conquered by their children.

Thus, right after the tragedy that killed the band, thousands of products with the band's image were marketed, namely:

Estrela launched a toy (a plastic booger named "Pum-pum Mamonas Assassinas"), which until October 1996 had sold 300,000 copies.

Panini Brasil launched an album of stickers that, until February 1997, had sold 250,000 copies and 20 million sticker envelopes. In addition to cards with photos of the band, the album was composed of caricatures, illustrations and a comic book. According to cartoonist José Alberto Lovreto, a comic book was created that explained to children the sudden disappearance of the Mamonas Assassinas, to remove that atmosphere of tragedy.

CD-Rom

Also in 1996, EMI released the CD-ROM Mamonas Assassinas, with images, videos, speeches and photos of the members of the band Mamonas Assassinas, as well as comic books, electronic games and lots of humor.

1996 - DVD MTV on the Road

A few months after the tragic accident, MTV Brasil released the DVD MTV na Estrada - Mamonas Assassinas, which features images of the group's concerts on tour in Brazil.[42]

1997 - Launch of the historic edition of the album A Formula do Fenômeno, by Banda Utopia

1997 was the year of the launch of the historic edition of the album A Formula do Fenômeno, by Banda Utopia. Entitled A Utopia dos Mamonas, it contained all the songs from The Formula of the Phenomenon, plus two unreleased tracks.

1998 - Release of the album Attention, Creuzebek: a Baixaia Continua!

The year of 1998 was marked by the release of the album Attention, Creuzebek: a Baixaia Continua!, basically formed by live versions of the songs from the only studio album by Mamonas, taken from a concert in São Paulo.

The unreleased "Joelho" (present on the 1992 Utopia vinyl) and "Onon Onon", as well as a Spanish version of "Pelados em Santos", entitled "Desnudos en Cancún", were released as the album's promotional single.[55 ]

2002 - Launch of the DVD Show Ao Vivo in Valinhos 1996 (Family Archive)

In 2002, the DVD Show Ao Vivo em Valinhos 1996 (Family Archive) was released, which brings images of a show held in the city of Valinhos, São Paulo, in 1996, in celebration of the city's 100th anniversary.

2006 - Release of the first live CD: Mamonas Ao Vivo

The album Mamonas Ao Vivo was released in 2006 and extracted from a performance by the band at Anhembi, in São Paulo. It includes the unreleased song "No Fart Aqui Baby", which should have been released on the eponymous album, but which was excluded for containing bad words.

2008 - Special For All My Life - Killer Mamonas

On July 10, 2008, Rede Globo aired the special Por Toda Minha Vida - Mamonas Assassinas, in honor of the group. The program broke the hourly audience record, with an average of 26 points on IBOPE. The special was rerun twice more, on March 10, 2010 and March 5, 2016, in addition to being released on DVD by Globo Marcas/Som Livre in 2009.

2009 - Documentary Mamonas, the Doc

In 2009, the first documentary about the band was released. Entitled Mamonas, o Doc, the documentary is directed by Cláudio Kahns, and shows the band's trajectory from before their fame to the peak of their career.

2011 - Documentary Castor Beans Forever

In 2011, the documentary Mamonas Forever was released, also directed by Claudio Khans. The following year, Mamonas Assassinas were nominated for the Brazilian Cinema Grand Prix in the Best Soundtrack category.

In April 2013, columnist Flávio Ricco, from UOL portal, informed that the director and producer of the documentary negotiated with Fox Channel the sale of the rights to make a film about the band.

2013 - Recording of the song “Renato, o Gaúcho”

In July 2013, Rick Bonadio, the group's music producer, invited singer Falcão, the band Contra as Nuvens and musicians Gee Rocha and Daniel Weksler, both from NX Zero, to record an unprecedented song composed by keyboardist Júlio Rasec and kept since then by his sister, Ana Paula, in a notebook. The song, which would come out on a second album, is called “Renato, o Gaúcho”, and was released on Multishow's 2013 reality show Fábrica de Estrelas, presented by Rick Bonadio. A video clip was made for the song, in which some images of the Mamonas appear.

2015 - Castor Beans: 20 Years of the Phenomenon

In celebration of the 20th anniversary of the phenomenon Mamonas Assassinas, news came out that an independent record label would be producing a CD entitled Mamonas: 20 years of Phenomenon, which would bring the record of a concert by the group. However, the label has not announced the year and location of this show, nor the month of release of this new album.

2016 - O Musical Mamonas Show

In 2016, O Musical Mamonas was released in honor of the band's 20th anniversary, with text by Walter Daguerre and direction by José Possi Neto.

2016 - Killer Castor Beans - The Series

In 2016, Record announced the project of a television miniseries called Mamonas Assassinas - A Série, scheduled to air in July of the same year. Due to plot issues, however, the project was postponed.

In 2018, the São Paulo broadcaster reported that the project had been resumed, but with no launch forecast yet. The project also includes a feature film about the band, with the compaction of the chapters.

2018 - Song "Vai Aê"

In May 2018, Tor Sakata and Ruy Brissac released the song "Vai Aê", whose lyrics were posthumously attributed to Dinho. The unfinished work would have been found the year before, in sketches by the late singer, by Santana, his cousin. Ruy Brissac, who played the role of Dinho in Musical, complemented the lyrics by inserting some new passages.

Formation

members

The band Mamonas Assassinas was formed by:

Dinho (Alecsander Alves) - was the main vocalist and leader of the band. He also played guitar;

Bento Hinoto (Alberto Hinoto) - was the guitarist of the band. He also played guitar and did backing vocals;

Samuel Reoli (Samuel Reis de Oliveira) - was the band's bass player and also did backup vocals;

Sérgio Reoli (Sérgio Reis de Oliveira) - was the band's drummer and also did backing vocals;

Júlio Rasec (Júlio César) - he was the band's keyboard player He also did backing vocals and vocals.

Mercúrio Cromo is a Brazilian rock band with songs on various themes and lyrics and compositions that move from the contestatory verve of punk rock to typical pop rock ballads, created in 2005. As the name suggests, it prides itself on being a combination, not necessarily logical, of musicians with different musical tastes and influences.

The band has an album, two Singles and an EP. Formed by Fábio Adorno, Nando Menezes, Rafael Arruda and Kairo Espósito in São Paulo, the band abused creative, poetic and technical freedom until the 2012 album "Mercurio Cromo", full of songs with length and unusual lyrics in the music market of commercial stamp. A Single in 2013, O Gigante Acordou was released, keeping influences from the first album, but reducing the length of the composition a little, but not leaving aside – on the contrary, reinforcing – its critical vein. Dedicated to popular demonstrations in June/July 2013, the band started to gain more recognition, having this song even performed on the 89FM São Paulo radio station A Rádio Rock. The following year, 2014, they released a reinterpretation of the “anthem” Pra Frente Brasil, with a controversial clip, satirizing the World Cup held in the country. The band went through some reformulations in the period between 2005 and 2013, always on drums: Thiago Mendes between 2005 and 2007; Kauê Moralez between 2007 and 2010; Celso Fernando between 2010 and 2013, until the consolidation of Samuel Souza in the post. They started recording the EP Mercúrio Cromo and after some time released the track "O Que Eu Senti por Você", the band's first song to have a clip aired on television. The clip was directed by Maurício Eça, who had already directed prized clips for artists such as Racionais MC's, CPM 22, Pitty and Mafalda Morfina. The EP was released at the end of 2014, the tracks "What I Feel for You" and "Todo Mundo Sabe" won clips and the track Lorena won a lyric video, as well as a clip too – this one aired on the Multishow channel.

Story

The band emerged and consolidated itself in São Paulo, a plural city that traditionally projects rock bands to the national scene. The group uses everyday themes, political criticism and poetic and reflective lyrics with combinations of various strands of rock, pop and MPB.

Created in a lower middle class residential condominium on the outskirts of São Paulo, the band's first formation featured Fábio Adorno (bass), Rafael Arruda (guitar – Fábio's teenage friend), Nando Menezes (vocals – then boyfriend of a friend in common between Fábio and Rafael), Kairo Espósito (guitar – Fábio's cousin) and Thiago Mendes (Fábio's neighbor).

Over time, and through a long maturing process, which involved concerts, recordings of demos and drummer changes, the band underwent modifications after the album Mercúrio Cromo (2012), which, in addition to being a new member, also has been modified somewhat from the band's style, with variations in timbres and artistic perspectives.

The first album, eponymous, was released in 2012 and carries some elements and themes ranging from Punk to Grunge, going through hard rock and pop, and that print a somewhat heavy sound and dynamics outside of commercial standards. Recorded, Mixed and Mastered in São Paulo, the album has references to bands like Pearl Jam, Mudhoney, Guns N' Roses, Ozzy Osbourne, and even the Ramones.

In 2013, they released the Single O Gigante Agreed, amidst the June and July demonstrations. Loaded with political tones, the track already brings some elements that would be further consolidated, such as more modern languages of structure and timbres in instruments typical of great rock classics (such as the Gibson Les Paul and SG guitars, the Fender Precision bass and the Shure Microphone SM-55), in addition to the direct message and references to famous Brazilian music songs such as “Brasil” by Cazuza, “Como Nosso Pais”, a composition by Belchior immortalized in the voice of Elis Regina, and “Geração Coca-Cola” and “ Que País É Este” by the band Legião Urbana.

In the first half of 2014 the band releases the provocative single with the re-reading of “Pra Frente Brasil”, a famous song, closely linked to the third Brazilian title of the World Cup and to football in the country. Released along with a satirical clip in the midst of the 2014 World Cup, the song was the band's last release before the EP, also called “Mercury Cromo”.

Released at the end of 2014, the EP brought consistent change in the band, in the most varied artistic and musical aspects. It provided 3 work songs, performed on some radio stations in the country, and with clips on specialized channels such as Woohoo, PlayTv and Multishow. The band also participated in radio shows on KISS FM and Rádio USP FM, and also in TV shows on channels such as MTV and Record News. To promote the album, they performed numerous shows, in "electric" and "acoustic" formats

Members

Nando Menezes — vocal Born: 1978

Singer and composer, born in São Paulo, he sang in the bands Carnificina and InDust.

Fábio Adorno — low birth: 1985

Composer and bassist, his artistic career started when he was 9 years old, drawing, but his musical career is confused with the career of Mercúrio Cromo.

Rafael Arruda — guitar, vocal Born: 1985

Composer and guitarist, he started his career in 2003, in São Paulo. He played in the band Versus before founding Mercury Chrome. He is also an actor.

Kairo Espósito — guitar, vocals Born: 1988

Composer and guitarist, he began his musical career in bands in the neighborhood, in São Paulo. Before the band, I taught guitar.

Samuel Souza — drums, vocal Birth: 1995

Composer, drummer and football lover, Samuel started his career at a very young age, playing in bands in the neighborhood until he joined Mercúrio Cromo.

Os Mutantes is a Brazilian psychedelic rock band formed during the Movimento Tropicalista in 1966, in São Paulo, by Arnaldo Baptista, Rita Lee and Sérgio Dias. They also participated in the group Liminha and Dinho Leme

The band is considered one of the main groups in Brazilian rock. Like most groups from the 1960s, Os Mutantes were heavily influenced by The Beatles, Jimi Hendrix and Sly & the Family Stone. However, Brazilian musicians were also immersed in their local culture, exerting their own creativity in the use of feedback, distortion and studio tricks of all kinds, as was done by the Liverpool quartet and the group The Beach Boys. In this sense, the Mutantes were pioneers in mixing rock and roll with Brazilian musical and thematic elements. Another characteristic of the group was their irreverence. Because like Os Mutantes, there was a kind of mixture of foreign and Brazilian music and the addition of new ideas, with doses of experimentalism, thus opening the way for musical hybridism.

Os Mutantes began their activities in 1966, as a trio, when they performed on TV Record's O Pequeno Mundo by Ronnie Von. The group was dubbed Mutants by Ronnie Von himself, before their TV debut. The group until then was called The Wizards and the suggestion came from the book The Empire of Mutants, by Stefan Wul. The group soon became one of the main exponents of the new MPB, influenced by Tropicália, until it ended in 1978, with only Sérgio Dias as the original member. Over these twelve years, nine albums were recorded, two of which - OA and Z and Tecnicolor - were released only in the 1990s. most creative, dynamic, radical and talented groups of the psychedelic era and the history of world music. In 2006, the band reunited, without Rita Lee or Liminha, but with the presence of Arnaldo Baptista and Zélia Duncan on vocals. The following year, Arnaldo and Zélia left the band, which was recomposed with other musicians and continues to perform under the leadership of Sérgio Dias, the only remaining member of the original formation.

Story

1960s and 1970s

Origins

Os Mutantes, 1969. National Archives.

In 1964, the brothers Arnaldo Baptista and Cláudio César Dias Baptista, together with Raphael Vilardi and Roberto Loyola, founded the group The Wooden Faces. A year later, they met and invited Rita Lee - then Teenage Singers - to join the band. He would also join the Sérgio group, the youngest in the Baptista family. The new band was renamed Six Sided Rockers, then O Conjunto and O'Seis.

In 1966, they recorded a single for Continental with the compositions "Suicida" (by Raphael and Roberto) and "Apocalypse" (by Raphael and Rita), which sold less than two hundred copies. Later that year, Cláudio César, Raphael and Roberto would leave the group. Arnaldo, Rita and Sérgio kept the group, which was renamed with the definitive name Os Mutantes, the name came from O Império dos Mutantes, science fiction by Stefan Wul published in the Argonauta Collection of Portugal.

Ronnie Von, one of the stars of the Jovem Guarda (although he never participated in the program hosted by Roberto Carlos, Erasmo Carlos and Wanderléa), then ran the Sunday program O Pequeno Mundo by Ronnie Von, broadcast by TV Record, and had not liked the name previous. On October 15, 1966, Os Mutantes debuted on the program. They impressed so much that the group was invited to be part of the regular cast of the program. They also participated in the recordings of the LP Ronnie Von - nº 3.

Approaching Tropicalists

In early 1967, changes in the program's artistic direction gradually reduced the Mutantes' performances. By disagreeing with the new guidelines, they left Record, as there was also the possibility of performing on other channels. At the invitation of Maestro Chiquinho de Moraes, from Rede Bandeirantes, Os Mutantes appeared in the program "Quadrado e Redondo", presented by Sérgio Galvão. At that time, they met another conductor, Rogério Duprat, who would play a decisive role in the trio's history. Sponsored by Duprat, Os Mutantes began to participate in the great Brazilian popular music festivals, which were in their heyday. The conductor suggested to Gilberto Gil that he summon the group as a support band to record "Bom Dia", which would be sung by Nana Caymmi and enrolled in TV Record's III Festival da Música Popular Brasileira. Another recording by Gil classified for the Festival was "Domingo no Parque". Although none of its members read musical figures and scores and knew the harmonic complexity of the arrangements created by Gil and Duprat, Os Mutantes did very well in the rehearsals and ended up participating in the recording of both. "Domingo no Parque" won second place and brought the Mutantes closer to the tropicalist movement.

In 1968, the trio signed a contract with Polydor, thanks to a referral from producer Manoel Barenbein. Thus, Os Mutantes, the band's first album, was released. With arrangements by Duprat and special guest appearance by Jorge Ben, the LP was very innovative and experimental, as well as being heavily influenced by the work of the Beatles. Some of the tracks that stood out are "Senhor F" (which featured the Baptista brothers' mother, Clarisse Leite, who played the piano), "Panis et Circenses" (song composed by Caetano Veloso and Gilberto Gil especially for Mutantes) and "Trem Fantasma" (partnership between Mutantes and Caetano Veloso, which was composed in the house of producer Guilherme Araújo). The disc sold less than 10,000 copies but acquired legendary status over the years.

Also that year, the band participated, along with several artists, in Tropicalia or Panis et Circencis, a manifesto record of the tropicalista movement, recording the title track of the LP. Later that year, the group participated in two sequences - filmed at the Ponto de Encontro nightclub - of As Amorosas, a film by Brazilian director Walter Hugo Khouri, starring Paulo José, Lilian Lemmertz and Anecy Rocha. In September, they also participated in the III Festival Internacional da Canção, on TV Globo, defending "Caminhante Noturno" (by Arnaldo, Sérgio and Rita), which ended up ranked in seventh place. But the most emblematic episode of that festival was the presentation of Caetano accompanied by Mutantes as a support band. In the São Paulo final of the FIC, held at the Theater of the Catholic University of São Paulo, they performed "É Proibido Proibir". Caetano's song was received under intense boos from the audience that filled the auditorium. As soon as the Mutantes began to play the intro, enraged spectators threw eggs, tomatoes and pieces of wood against the stage and turned away from the performance. Immediately, the Mutantes responded, without stopping playing: they turned their backs on the audience. Disgusted with the reception, Caetano gave a long and heated speech that could hardly be heard because of the noise inside the auditorium.

At the end of that year, the Mutantes were at the IV Festival da Música Popular Brasileira, defending "Dom Quixote" and "2001", the latter a partnership between Rita Lee and Tom Zé.

the end of tropicalia

The following year, Mutantes toured France, where they played at the famous International Disc and Music Publishers Market (Midem), in Cannes, and at the traditional Olympia, in Paris. In February, Mutantes, the band's second album, was released - and already with the participation of drummer Dinho Leme and bassist Liminha. One of the highlights of the LP, the track "Caminhante Noturno" was wrongly omitted the name of Sérgio Dias as co-author.

Os Mutantes, 1972. National Archives.

Also in 1969, Mutantes performed their last concert with Caetano and Gil. It was during the turbulent season at the Rio de Janeiro nightclub Sucata, in which the famous incident of the national flag, supposedly disrespected, occurred in the understanding of the military that ruled Brazil at that time. During the show, a flag, designed by the artist Hélio Oiticica, with the inscription "Be Marginal, Be Hero" and the image of a famous drug dealer at the time, Cara de Cavalo, who had been killed by the police, was hung on the stage. The military also alleged that Caetano had sung the National Anthem inserting verses offensive to the Armed Forces. This all served as a political pretext for the military to suspend the presentation and arrest Caetano and Gil, later released and self-exiled in the United Kingdom. The episode is considered the end of the avant-garde movement.

Later that year, the show Planeta dos Mutantes premiered, mixing music, bizarre scenes and psychedelia. At the end of that year, the group defended the song "Ando Meio Shutdown" at the IV Festival Internacional da Canção.

band consolidation

In March 1970, A Divina Comédia or Ando Meio Shutdown was released, considered a milestone in the group's career, which tries to distance itself from tropicalism and embrace rock for good. The biggest highlight of the LP was the title song "Ando Meio Shutdown" (by Arnaldo, Sérgio and Rita). Another highlight is the re-recording of "Chão de Estrelas" (by Sílvio Caldas and Orestes Barbosa), which was much criticized by critics and purists at that time. At the end of that year and with bassist Liminha integrated into the Arnaldo-Sérgio-Rita-Dinho quartet, the Mutantes returned to France to perform some performances. Invited by producer Carl Holmes, they took the opportunity to record some songs at the Des Dames studio, with the intention of releasing an album mainly in English to attract international audiences. But Polydor would give up on the project even with an entire album already recorded. Only in 2000, the album would be released, called Tecnicolor.

In early 1971, the band was hired by Rede Globo to be one of the fixed attractions of the Som Livre Export program. Initially, the group liked it, but later became disinterested in the project. That same year, Jardim Elétrico was released, an album in which some instruments made by Cláudio Baptista, older brother of Arnaldo and Sérgio, were used. Four tracks recorded in Paris were used for the disc. On December 30, 1971, Rita and Arnaldo got married. She said years later that the marriage was only to gain independence from their parents and that the brothers fought over who would sign the certificate. Upon returning from their honeymoon, the couple would tear up the marriage certificate on the television show hosted by Hebe Camargo.

The expulsion of Rita Lee

Rita Lee performing with Os Mutantes, 1972. Arquivo Nacional.

In May 1972, two months late, Mutantes e Seus Comets in the Country of Baurets was released. The album's title is a tribute to Tim Maia, who was a friend of the Mutantes, and who called the marijuana cigarettes he used to smoke "baurets". The LP showed the band's transition towards progressive rock, influenced by the groups Emerson, Lake & Palmer and Yes. The track "Cabeludo Patriota" suffered from censorship and had to change its name to "A Hora e a Vez do Cabeça". To be born" and noises were superimposed to hide the phrase "my hair is green and yellow". "Balada do Louco" (Arnaldo and Rita) was the great success of the album and one of the biggest of the group's career. Other songs were well performed in the media, such as "I can lose my wife, my mother, as long as I have Rock and Roll" (by Arnaldo, Rita and Liminha), "Vida de Cachorro" (by Arnaldo, Sérgio and Rita), "Cantor de Mambo" (by Élcio Decário, Arnaldo and Rita), "Todo Mundo Pastou" (by Ismar S. Andrade "Bororó") and "Rua Augusta" (Hervé Cordovil). This was Rita Lee's last moment with the band, who left - or was asked to leave - Mutantes, starting a solo career.

Still in 1972, it was discovered that the first sixteen-channel studio in the country had been installed in São Paulo. Os Mutantes tried to convince Polydor to release another album of the band that year, but the label, interested in launching Rita Lee's solo career, determined that only she would sign the album, claiming that it would not be well for the band to release two LPs on the same year. For this reason, the LP Today Is the First Day of the Rest of Your Life was credited only to Rita Lee, although Mutantes as a whole were actively involved in both the composition and recording of the album.

Rita was eventually expelled from the group, as Arnaldo admitted in a 2007 interview: "I sent Rita away from Mutantes".[17]

the progressive phase

Already without Rita Lee, in 1973 Mutantes premiered the show, "2000 Watts de Som" and recorded OA eo Z, an LP that marked the band's adherence to progressive rock. All of his tracks were composed and performed under the effect of lysergic acid (LSD), which displeased Polydor, who did not approve of the work, considered it without commercial value and decided not to release it. In addition to not marketing the record, the record company decided to fire the band. The album would only be released in 1992, by PolyGram.

The Mutants continued to be active, but Arnaldo, weakened by the continuous use of drugs (especially LSD) and depressed by the end of his marriage, started to show pathological behaviors, collecting bags full of garbage, communicating in a kind of invented language by him and making plans to build a spaceship. Arnaldo then left the band, followed by drummer Dinho. In 1974, after a fight with the other members, bassist Liminha was the next to leave the group.

the downfall and the end

Sérgio Dias decided to keep the band, but had to reformulate its entire structure. In place of Arnaldo, Dinho and Liminha entered respectively Túlio Mourão, Rui Motta and Antônio Pedro Medeiros. The new formation got a contract with Som Livre in 1974, which released Tudo Foi Feito por Sol in the same year.

Even after the release of the LP, discussions did not cease. In 1976, Sérgio fired Túlio and Antônio, replaced by Luciano Alves and Paul de Castro. Arnaldo refused all of his brother Sergio's requests for them to play together again. In the same year, the label released Mutantes Ao Vivo, recorded at MAM in Rio de Janeiro. The album did not please fans and critics.

In 1978, Arnaldo, who had formed the Patrulha do Espaço the previous year, met with the band as a special guest in a single performance, but he did not accept Sergio's invitation to return to Mutantes. With a few more disagreements, Sérgio decided to break up with the group. The end could not be more melancholy: approximately two hundred people attend the group's last concert, on June 6 in Ribeirão Preto.

After the end

Release of OA and Z

Os Mutantes returned to the news in 1992, when the main Brazilian newspapers announced that the group would return to its classic formation. What actually happened was an invitation from Almir Chediak for the group to meet in a recording. Sérgio played on some of Rita's solo records in the 1970s and 1980s and performed in some of her concerts in 1992. In these shows, the audience screamed Arnaldo's name. Later that year, Sérgio Dias convinced Mayrton Bahia, PolyGram's artistic director, to release OA eo Z, recorded in 1973. The label granted the ex-Mutante's request. In 1996, the label Natasha Records released a tribute album to Mutantes, in which the group's many hits were interpreted by artists from the Brazilian pop scene, such as Arnaldo Antunes, Kid Abelha, Lulu Santos, Pato Fu and Planet Hemp.

Technicolor Launch

In 1999 the record label Universal, owner of the catalog of the extinct Brazilian subsidiary of Polydor, finally decided to release Tecnicolor, the album recorded by the band during its passage through France in 1970. The illustration and calligraphy of the album, in the version edited in 1999 , are by Sean Lennon.[12][13][14] At the time, in 1970, PolyGran English invited the group to live in London and asked them to record an album with songs in the English language. Only Arnaldo Baptista knew about this invitation and only told the other members after returning to Brazil.

In February 2005, the British magazine Mojo included the album Os Mutantes in its list of "50 Most Out There Albums of All Time" (something like the "50 Most Experimental Records of All Time"). They took 12th place on the list, ahead of the Beatles, Pink Floyd and Frank Zappa. Also in 2005, the British Q Magazine also placed the album in 12th place, in its list of the "40 greatest psychedelic albums of all time". also included their debut album at No. 9 on their list of the "10 Greatest Latin Rock Records of All Time"

Return in 2006

In 2006, the Mutantes were honored at the Tropicália - A Revolution in Brazilian Culture exhibition, at the Barbican Hall, in London, the main cultural center in Europe. Claiming appointments scheduled on the same date as the invitation, Rita Lee did not accept the invitation. Liminha also declined. Sérgio Dias, Arnaldo Baptista and Dinho Leme (who hadn't played professionally for about thirty years) accepted. The original group was joined by singer Zélia Duncan in place of Rita Lee and musicians from Sérgio's band. All tickets for the concert were sold in advance, which had as opening band the group Nação Zumbi and the Texan musician Devendra Banhart, a big fan of Mutantes. The first presentation of the new Mutantes took place with great success on May 22 in London[22] and was recorded for future release on CD and DVD, by the Sony BMG record company. After the concert in London, the Mutantes went on to season in the United States. They have performed at Webster Hall in New York, the Hollywood Bowl in Los Angeles, The Fillmore in San Francisco, the Moore Theater in Seattle and Cervantes Masterpiece Ballroom in Denver - as well as participating in the Pitchfork Music Festival in Chicago. Later that year, Universal Records remastered all of the band's albums from 1968 to 1972, making use of the original tapes.

On January 25, 2007, the group makes its first performance in Brazil in almost thirty years. The concert was part of the celebrations for the 453rd anniversary of the city of São Paulo and took fifty thousand people to the Museu do Ipiranga. Then, the group toured Brazil. In September of that year, Zélia Duncan and Arnaldo Baptista announced the departure of the Mutantes. Zélia claimed that she wanted to dedicate herself more to her solo career. Arnaldo wanted to dedicate himself to his personal projects, which include writing an autobiography, releasing a fiction book (Rebelde Entre os Rebeldes) and two Patrulha do Espaço albums, and promoting an exhibition of his paintings and sculptures.

Sérgio Dias and Dinho Leme kept the band, this time with Bia Mendes on vocals, who released on April 25, 2008 "Mutantes Além", the first unreleased song by Mutantes in more than three decades. The compact can be downloaded for free from the Internet. The song is featured in the soundtrack of the novel Os Mutantes - Caminhos do Coração.

In 2013, the band releases the album "Fool Metal Jack", in 2017, in November 2013, they release the single "Black and gray".

In January 2020, the band releases the album Zzyzx, with only Sérgio Dias as an original member, the album features 11 songs, 9 of them in English, strolling through styles such as doo-wop, country folk rock.

Sérgio Dias with the "Golden Guitar".

innovations

The band was responsible for several technical and sound innovations that, until then, were unknown or little used by the phonographic industry in Brazil. One of the most responsible for such innovations was Cláudio César Dias Baptista, older brother of Sérgio Dias and Arnaldo Baptista. It was Cláudio César who built, for example, the "Golden Guitar" used by Sérgio Dias in almost all Mutantes records, and the Regvlvs bass used first by Arnaldo and later by Liminha. Other equipment, such as amplifiers, speakers and sound tables, as well as effect pedals were also designed and built by Cláudio César for the band's use. After leaving Mutantes, Cláudio César wrote a book about studio recordings and began marketing his equipment under the CCDB brand, continuing in the field of electronics and audio engineering until the 1980s.

Members

Classical training

Arnaldo Baptista - Keyboard, bass and vocals (1966 - 1973; 2006-2007)

Rita Lee - Vocals, Percussion (1966 - 1972)

Sérgio Dias - Guitar, vocals (1966 - 1978; 2006 - )

Dinho Leme - Drums (1969 - 1973; 2006 - 2013)

Liminha - Low (1969 - 1974)

None of Us is a Brazilian rock band, formed in 1986 in the city of Porto Alegre. The band is formed by musicians Thedy Corrêa, Carlos Stein, Sady Homrich, Veco Marques and João Vincenti. With a 35-year career, 17 albums, three DVDs and an EP, the band has performed over 2000 shows and sold over 3.5 million albums.

Story

The beginning (1986 - 1987)

Sady Homrich and Carlos Stein met at the time of the first grade, and later, in the 5th grade, they meet Thedy Corrêa. In college, Stein was one of the founders of the Engenheiros do Hawaii group. After two shows, he left to form None of Us with Corrêa and Homrich. After some time, they were called to open a DeFalla show at the Society of Friends of Praia do Imbé (SAPI).[3] Antônio Meira, producer, liked the young people's music and they signed with BMG Ariola and recorded their first album. The eponymous record was released in 1987 and sold 30,000 copies.

National success (1988 - 1993)

In 1988, the work song from the first album, Camila, Camila becomes a national hit, reaching 3rd place in the Brazilian chart. The success promoted new shows in Rio de Janeiro and São Paulo and the release of the 2nd album. School, produced by Reinaldo Barriga, was released in March 1989 and sold 250,000 copies, guaranteeing the band its first gold record. The album includes Marble Astronaut, a version of the song Starman by David Bowie, which was the most played national song that year.

1990 is marked by the entry of guitarist Veco Marques. The band's 3rd album was released that same year, Extraño, with strong influences from the music of Rio Grande do Sul, with the participation of Luiz Carlos Borges. The song Sobre o Tempo is included in the soundtrack of the telenovela Barriga de Aluguel, on Rede Globo, and won a special video by Fantástico (as well as O Astronauta de Mármore), boosting sales of the album, which reached 50,000 copies sold. In 1991, they performed at Rock in Rio II, on the penultimate day of the festival, marking the entry of João Vincenti as a guest musician.

In June of the following year, the band's fourth studio album is released, also by the same name, with influences from the pop of the 70s. audience on MTV and the band goes to Los Angeles to represent Brazil at the 1992 MTV Video Music Awards. Also in this album, a version of the song Sangue Latino (by the group Secos e Molhados) is included, which won a dance version that was played on the radios of the entire country and also Newspapers, which had a very successful clip on MTV's Top 20 Brazil.

Terminated their contract with BMG, the band starts a new project and spends the year of 1993 between the concerts of the fourth album tour and the composition of a new work.

Independent phase (1994 - present)

In 1994, the first live album of the None of Us, Acústico ao Vivo, was released, recorded at Theatro São Pedro, in Porto Alegre, on March 30, 1994. It guaranteed the band its second gold record. The song Diga a Ela was released as a single from the album and gained a high rotation live music video on MTV.

In 1996, Velas released the sixth album of the band's career, the first in which João Vincenti was recognized as an official member of the band. Mundo Diablo has partnerships with Edgard Scandurra (Ira!), Herbert Vianna (The Paralamas do Sucesso), Flavio Venturini (14 Bis) and Fito Paez. In 1997, the band performs, on February 1st, at the Planeta Atlântida festival, which on that same day also featured Skank. Meanwhile, the video for I'll Let You Go is #1 on Disk MTV.

In December 1998, the album Paz e Amor, produced by Sacha Amback, is released. The album is influenced by new English rock and has electronic music elements.[6] In early 2000, the album Onde Você Está em 93? was released, which was recorded in 1993, but was only released in 2000 by ACIT, as BMG had rejected it for being "non-commercial". On January 5, 2001, Histórias Reais, Seres Imaginários is released, an album that was very well received by the public and which also guaranteed a clip for Tomorrow or After, a song that was on the charts all over Brazil for weeks and marked the band's return to stages. -southern. In 2003, the second live album of the band's career is released. Acústico ao Vivo 2 is the record of the band's successes, for the second time, at Theatro São Pedro, despite being their second live album and also the second in acoustic format, it was the first available in DVD format. Like the first, it sold 100,000 copies, earning the band its third gold record. In 2005, Pequeno Universo was released, with 11 original unreleased songs and two reinterpretations, Eu e Você Semper (Jorge Aragão) and Raquel (Jorge Drexler).

In 2007, the band released their third live album, A Céu Aberto, on CD and DVD. This is the live recording in celebration of the band's 20th career, recorded on March 24, 2007 at Parque da Harmonia, in Porto Alegre.[18]

In 2009, the band released the album Paz e Amor - Acústico, an unprecedented recording made by the group at Theatro São Pedro, in Porto Alegre, in December 2000, during the tour of the album Paz e Amor.

After the release of the album Paz e Amor - Acústico, the group leaves a hiatus of six years without new compositions and releases Contos de Água e Fogo, in 2011, an album featuring the participation of Duca Leindecker and Leoni.[19][20] ]

In 2012, the band released their eleventh studio album, Outros, an album entirely of covers.

In 2013, the band released its twelfth studio album, Contos Acústicos de Água e Fogo, the group's third release in CD and DVD formats. The album features acoustic versions of songs from the album Contos de Água e Fogo, and some other hits from other albums.

In 2015, the band released the album Semper é Hoje which has the singles: "Milagre" and "Foi Amor" (which features the singer Roberta Campos). In 2018, they released the EP Doble Chapa with six tracks.

Members

Thedy Corrêa: vocal, guitar, bass and harmonica

Veco Marques: guitar, sitar, banjo, mandolin and guzheng

Carlos Stein: guitar and acoustic guitar

Sady Homrich: drums and percussion

João Vincenti: keyboards, harmonica, backing vocals and accordion

Os Paralamas do Sucesso (also known only as Paralamas) is a rock band formed in the city of Seropédica, Rio de Janeiro, in 1982. Its members since then are Herbert Vianna (guitar and vocals), Bi Ribeiro (bass) and João Barone (drums) ). In the beginning the band mixed rock with reggae, later they started to add wind instruments and Latin rhythms.

Career

1977–83: Education and Mute Film

In 1977, Herbert Vianna moved from Brasília to Rio de Janeiro to attend a high school at a military college and met Bi Ribeiro, a childhood friend from the Brazilian capital who was in his third year at the same institution. The two shared a taste for rock and began to rehearse together in an amateur way, since Herbert played guitar and Bi bass, inviting drummer Vital Dias, a friend of the bassist, to join them. In 1979, the three friends stopped seeing each other due to the entrance exam and only met again in 1981. This year they went back to rehearsing together on a farm in Mendes, in the interior of Rio de Janeiro, and at Bi's grandmother's house, in Copacabana, when they also began composing humorous songs, such as "Vovó Ondina é Gente Fina", "Mandingas de Amor", "Reis do 49" and "Pinguins? In addition, the friends brought Ronel and Naldo as vocalists for the band, which was originally dubbed As Cadeirinhas da Vovó.

In 1982, the friends decided to become a professional band and start composing seriously, but Ronel and Naldo did not intend to pursue an artistic career and decided not to be part of the project. Hebert, who until then played only guitar, also became the vocalist of the new band, dubbed Os Paralamas do Sucesso, and they officially started to perform shows, bringing a repertoire that mixed their own songs and covers by other artists. In 1982, Vital missed a performance at the Rural University of Rio and was replaced by João Barone, who took over the band once and for all because of the impossibility of continuing the original drummer's artistic career, while still maintaining a friendly relationship with them offstage. . This year the band sent the demo of the song "Vital e sua Moto" to Fluminense FM, becoming one of the most played on the radio in the summer of 1983. In January the band opened Lulu Santos' concerts at Circo Voador, a fact that he called attention of EMI, with whom they signed a contract. In the same year the band releases the album Cinema Mudo bringing humorous songs written before they became professional, which the band was against, but having been forced by the label to ensure a serious future release. Although Paralamas are considered part of the "Brasília rock" crowd – like Legião Urbana, Plebe Rude and Capital Inicial –, for having friends with these bands, in addition to Herbert and Bi having come from the Brazilian capital, Paralamas was formed in Rio of January.

1984–89: Lui's Wild Pass? and Bora Bora

In 1984, the band finally released the long-awaited most serious album, O Passo do Lui, which had a huge succession of hits such as "Oculos", "Me Liga", "Meu Erro", "Ideal Romance" and "Ska". of critical acclaim, leading the group to play at Rock in Rio, in which the Paralamas show was considered one of the best. After a great tour, they released in 1986, Selvagem?, the most politicized. The album opposed the "manipulation" from its cover (with Bi's brother in the middle of the forest with only a shirt around his waist), and mixed new influences, mainly from MPB. With hits like "Alagados", "A Novidade" (the first with the participation of Gilberto Gil, and the second co-written with him), "Melô do Marinheiro" and "Você" (by Tim Maia), Selvagem? sold 700,000 copies and accredited Paralamas to play at the cult Montreux Festival, in 1987.

The show at the Swiss city festival would become the band's first live album, D. Nele, the novelty, amidst the show with already known hits, was the inclusion of a "4º paralama", keyboardist João Fera, who tours with the band until today, as a supporting musician. Paralamas also toured South America, gaining popularity in Argentina, Uruguay, Chile and Venezuela. The successor to Selvagem?, Bora-Bora (1988) added brass to the band's sound. The album mixed political-social tracks like "O Beco" with the introspective "Quase Um Segundo" and "Uns Dias" (a reflection perhaps of the end of the relationship with the singer of the band Kid Abelha, Paula Toller). Bora-Bora is as critically acclaimed as O Passo do Lui.

1990–95: Big Bang, Os Graos and Severino

Big Bang (1989) followed the same style as the previous ones, having as hits the cheerful "Perplexo" and the lyrical "Lanterna dos Afogados". This was followed by the collection Arquivo, with a re-recording of "Vital" and the unpublished "Caleidoscope" (previously recorded by Dulce Quental, of the group Semper Livre). The early 1990s were dedicated to experimentation. Os Grãos (1991), an album with a focus on keyboards and less popular appeal, did not do well on the charts (despite having 2 hits, "Trac-Trac" - version by the Argentine Fito Páez - and "Tendo a Lua") and neither sold a lot, something that can also be attributed to the serious economic crisis Brazil was going through. After a short break (in which Herbert released their first solo album), the trio returned to the shows, which were still full, although the band came under heavy criticism from the press. At the end of 1993, the band travels to England, where, under the production of Phil Manzanera, they record Severino. The album, released in 1994, featured guitarist Brian May from British band Queen in the song "El Vampiro Bajo El Sol". This album was even more experimental, with very elaborate arrangements, and was ignored by radio and the general public, selling 55,000 copies. But if in Brazil the Paralamas were forgotten, in the rest of America they were idols. Paralamas (1992), a collection of Spanish versions, and Dos Margaritas (Severino's Hispanic version) broke out mainly in Argentina.

1996–00: 9 Moons and Hey Na Na

Despite the poor sales of the CD, Severino's tour was being very successful, with the public always welcoming the Paralamas. A series of three shows, recorded at the end of 1994, would become in 1995 the live album Vamo Bate Lata. Vamo Bate Lata was accompanied by a CD with four new songs, and the success of "Uma Brasileira" (partnership of Herbert with Carlinhos Brown and participation by Djavan), "Saber Amar" and the controversial Luís Inácio (300 Picaretas) (which criticized Brazilian politics and the Budget Dwarves) drew public and press attention back to the Paralamas. The return to easy-to-understand songs and the pop format definitely contributed to the return to critical and public success, resulting in the biggest sales of the band's career (900 thousand copies). That was also where the phase of super-produced music videos began, which would take 11 VMB from 1995 to 1999, starting with Uma Brasileira, winner in the Pop Clip and Audience Choice categories.

1996's Nove Luas and 1998's Hey Na Na continued their successful path with tracks such as Lourinha Bombril, La Bella Luna and Ela Disse Adeus (Nove Luas sold 250,000 copies in one month, while Hey Na Na sold the same in just one week). In 1999 MTV Brasil called Paralamas to record an MTV Acoustic. The album, with lesser-known songs and guest appearances by Dado Villa-Lobos, formerly of Legião Urbana and Zizi Possi, sold 500,000 copies, won the Latin Grammy and had a sold out concert tour. In 2000, they released a second compilation, Arquivo II, with songs from all their albums between 1991 and 1998 (except Severino), a re-recording of "Mensagem de Amor" and the unpublished "Aonde Quer Que Eu Vá", a partnership between Herbert and Paulo Sérgio Valle (the duo had also written hits for Ivete Sangalo).

2001–05: Hebert's Accident, Long Road and A Few Days

Herbert Vianna and João Barone (in the background).

On February 4, 2001, an ultralight piloted by Herbert Vianna had an accident in Mangaratiba. Herbert's wife Lucy was on board and died. Herbert had been rescued and taken to the capital. The sequels were hard (Herbert had been intubated and ended up being paralyzed), but as soon as Herbert showed that he could play, Bi and João decided to go back to rehearsals and record an album whose songs were already prepared before the accident. Longo Caminho was released in 2002. The sound went back to the beginning, without metals, in search of a more "raw" sound. A performance on TV Globo's Fantástico program served as the band's post-accident re-debut. The return to tours was very successful, with sold out shows, even because of the curiosity of the public to know the real conditions of Herbert and the anxiety to see the band reunited.

All of this, together with the new radio hits ("O Caliber", "Following Stars", "Take Care of Your Love" - the latter included in the soundtrack of the soap opera Sabor da Paixão), boosted the sales of Longo Caminho, which reached 300,000 copies. Taking advantage of the highly emotional and emotional character of the concerts on the tour, the band records Uns Dias Ao Vivo (2004), full of guest appearances (Dado Villa-Lobos, Andreas Kisser, Edgard Scandurra, Djavan, Nando Reis, Paulo Miklos, George Israel and Roberto Frejat). The record showed a heavy band like never before seen. Old hits, like "Meu Erro", gained turbocharged versions. The new songs sounded even rawer. Furthermore, the band decided to do the first part of the presentation on a small stage set up in the middle of the dance floor. The proximity to the audience contributed to the end result being warm and faithfully capturing the emotion of the shows.

2005–12: Today, Brazil Away and Live

In 2005, Paralamas released Hoje, the first with completely new songs. The reception was good and songs like "2A", "Na Pista" and "De Perto" were successful, although they were not big hits. Although the album brought back a more solar sound, with the return of the use of brass, it did not forget the heavy part that had been addressed in Longo Caminho, in songs like "220 Desencapado", "Ponto de Vista" - which featured the assistance from Andreas Kisser, guitarist of Sepultura - and "Fora de Lugar". There was also a remake of "Deus lhe Pague", by Chico Buarque, chosen in a vote on the band's official website. In early 2006, the DVD Hoje Ao Vivo was released, containing a concert by the band (made without an audience, at the Pólo de Cinema e Vídeo, in Rio de Janeiro), with the songs from the album, as well as two versions for "O Muro ", a song that Herbert recorded on O Som do Sim, a solo album from 2000, and Busca Vida.

Also in 2006, a documentary about Herbert Vianna, Herbert de Perto, was released. Directed by Roberto Berliner, who also directed the DVD.

In 2008, Paralamas completed 25 years of their career, celebrated with a series of shows together with the Titãs, who have also been on the road for 25 years. in the same year, the song "Me Liga" was included in the soundtrack of the soap opera Chamas da Vida by Rede Record. the series of shows also culminated in a show held at Marina da Glória, Rio de Janeiro, released on CD and DVD and entitled Paralamas e Titãs: Juntos e Ao Vivo.

In 2009, Paralamas released their most recent album, Brasil Afora, which was first available for download (with one more song) and shortly thereafter was released on CD. The album features the participation of Carlinhos Brown and Zé Ramalho, besides a version of a song by Fito Paez.

In December 2010, Paralamas recorded the CD and DVD Multishow Ao Vivo Brasil Afora at Espaço Tom Jobim, in the Botanical Garden of Rio de Janeiro, featuring Pitty's participation in the classic "Tendo a Lua" by Zé Ramalho on the hit "Mormaço". " . The DVD's release took place in April 2011 on a Multishow channel special.

2013–present: 30 Years and Signs of the Sim

In 2013, the band celebrates 30 years of career with a national tour in various regions of the country, which also inspired a documentary produced by the Bis channel, with testimonials Dado Villa-Lobos, Thedy Corrêa, Rogério Flausino, José Fortes (Entrepreneur), among others besides the band members. In August 2014, in partnership with the Multishow channel and the Universal Music label, the band released the live album Multishow ao Vivo Os Paralamas do Sucesso - 30 Years, which records the show performed during the 30-year tour on CD and DVD. at Citibank Hall, in Rio de Janeiro, on October 26, 2013 (which had also been broadcast live by the channel at the time).

On March 3, 2015, former drummer Vital Dias died of cancer. On their official Facebook page, the band posted a message from the members, in which they said they were "supportive" and that they sent "our highest thoughts to their wife, children and friends at this difficult time".

In 2016, together with Nando Reis, Dado Villa-Lobos, Paula Toller and Pitty, the band participated in a tour promoted by the Nivea Viva Rock Brasil project, which takes place annually since 2012 and takes artists to tours throughout Brazil. The series of seven shows paid homage to Brazilian rock.

In 2017, the album Sinais do Sim was released, which had the homonymous song as its first single. The album brought references to rock and reggae, love songs and the search for a different sound, in this case more raw and direct. The concerts of the tour on this album featured side-b songs such as “A Outra Rota” (Os Graos, 1991) and “Capitão de Indústria” (from 9 Luas, 1996).

On October 6, 2019, the band performed at the Rock in Rio VIII World Stage.

The Paralamas do Sucesso

Herbert Vianna - voice, guitar and guitar (1982-present)

Bi Ribeiro - bass (1982-present)

João Barone - drums (1982-present)

Pitty is a Brazilian rock band formed in Salvador by the singer Pitty Currently, the band members are Pitty, Martin Mendonça, Daniel Weksler, Paulo Kishimoto and Guilherme Almeida. Others who passed by the band were Peu Sousa (ex-Trêmula, ex-Nove Mil Anjos), Joe, Brunno Cunha, Luciano Granja and Duda Machado. The band has been active since 2003, being one of the main bands established in Brazil, scoring several hits in the Brazilian scene. Singer Pitty's band is one of the most awarded Brazilian bands, selling around 15 million copies.

Members

Pitty - vocal and rhythm guitar

Martin Mendonça - guitar and backing vocals

Daniel Weksler - battery

Guilherme Almeida - bass

Paulo Kishimoto - keyboards, lap steel, percussion and backing vocals

Rádio Táxi is a pop rock band created in the early 1980s in São Paulo, Brazil. It was formed by former members of Tutti Frutti, support band of singer Rita Lee and Secos & Molhados: Wander Taffo, Lee Marcucci, Gel Fernandes and Willie de Oliveira, who after recording the album Rádio Táxi in 1983, was replaced by Maurice Gasperini.

One of the band's biggest hits is the song "Eva" (a version of the homonymous song by Italian Umberto Tozzi), later re-recorded by Banda Eva in the 1990s, in which singer Ivete Sangalo was a part. Another success of the band is the song "Garota Dourada", re-recorded by Pepeu Gomes.

In 2019, the group teamed up with Placa Luminosa to make a nostalgic tour of Brazil, which began in São Paulo, on October 3rd, at Teatro Liberdade.

Raimundos is a Brazilian rock band formed in Brasília in 1987. The name is derived from one of their biggest influences, the band Ramones. With eight copyrighted records, thirty years of existence and more than five million copies sold, it is one of the main rock bands in Brazil.

Story

First phase (1987-1992)

The group was formed in Brasília in 1987. It was formed by neighbors Digão, on drums, and Rodolfo Abrantes, on guitar. They were influenced by the bands Dead Kennedys, Suicidal Tendencies and Ramones, acting as a cover of the latter. At the time, there was a lack of a bass player, and so Canisso started playing with the duo.

The band's first performance was held at the house of Gabriel Thomaz, singer of Autoramas, during the turn of the year in 1988. Fred, who was present at that performance, eventually became the band's drummer. Among his influences, Raimundos also incorporated the northeastern culture, in part due to the forró composer Zenilton, considered by the band members as their greatest northeastern influence. Rodolfo later recalled: "My family is from Paraíba, and I remember that since I was ten years old, I've always gone to those barbecues with my parents. I played forró all the time, and I thought that was a pain. Zenilton songs, because of the crazy lyrics, I thought that was really cool."

The band's rhythm remained constant until its separation, in 1990 Canisso began studying Law at the University of Brasília and had children; Digão stopped playing drums due to hearing problems and started playing guitar; and Rodolfo, in turn, started singing in the band Royal Street Flesh, got married and moved to Rio de Janeiro.

The return and success for Brazil (1993-97)

The return took place in 1992 with an opportunity to play in a bar in Goiânia. As Digão had switched to guitar, the band began looking for a drummer, even using electronic drums. Not getting good results, recruit Fred, who at the time was already a fan of the group. The following year, the band recorded a demonstrative tape containing "Nega Jurema", "Marujo", "Palhas do Coqueiro" and "Sanidade", which began to be disseminated throughout the country. The band became recognized by the media and other bands, and was invited to play in Rio de Janeiro. At this time, they opened performances of Camisa de Vênus and Ratos de Porão at Circo Voador, as well as a season for Titãs.

In 1994, they released their first album, entitled only as Raimundos, on the Banguela dos Titãs label. The record was well received, selling over 150,000 copies. The heavy sound, with lyrics full of profanity and with strong northeastern influences, caught the attention of the media and the public, with songs like "Puteiro em João Pessoa". The great success of the album was the porno-erotic ballad "Selim", which boosted sales of the album and made the band known throughout the country. The album was extremely important to the Brazilian music scene, due to its innovative sound (titled "forró-core") and the fact that it was one of those responsible for "opening doors" for rock in the 90s, influencing practically all bands that would form later.

In 1995, they returned to the studio to record Lavô Tá Novo for the Warner label. With more emphasis on hardcore over forró, it generated hits such as "Esporrei Na Manivela", "Pitando No Kombão", "O Pão da Minha Prima" and "I Saw You Saying (That You Say That You Saw)" and surpassed the sales of the original.[24][25] Raimundos consolidated their participation in the Monsters of Rock and Hollywood Rock festivals, where they played alongside classic groups such as Motorhead and Iron Maiden.[26] In 1996 the band released a box with CD, comic book and VHS tape called Basic Basket.

Crisis (1998)

In 1997, they went to Los Angeles to record Lapadas do Povo. The album leaves aside funny lyrics and melodies, invests in weight and more serious lyrics. Among the songs are "Andar na Pedra" with a clip starring actor Matheus Nachtergaele, a remake of "Oliver's Army" by Elvis Costello, and a version of a song by the Ramones, "Pequena Raimunda (Ramona)". Despite the good reviews, the album ends up selling less than the previous ones. To make matters worse, at a concert in the city of Santos, on the coast of São Paulo, one of the fences where the public was leaving fell, causing the death of eight people and 67 injuries. Later classified as "eternal wound", the band was shaken by what happened and canceled several performances.

Return to Success (1999-2001)

In 1999 the band returned to success with Só no Forévis, the band's best-selling album. A curious fact was that the first print run of the CD was stolen, which led Raimundos to appear both on the police pages and on the culture pages of newspapers. Apart from this little incident, everything had returned as before, with more mocking and humorous lyrics, just like in the early days of the band. The album won several hits on the radio and on MTV Brasil, such as "A mais Pedida", "Me Lambe" and "Mulher de Fases", the band's most successful song To crown the great phase, in 2000 the band launched in peak of his success, together with MTV, a double live album bringing together his greatest hits, MTV Ao Vivo, recorded in Curitiba and São Paulo.

Departure of Rodolfo and Canisso (2002-05)

In early 2001, Rodolfo and his wife were converted to the gospel, and the musician decided to leave the band to live up to his belief. The remaining members decided to return with the band. They released the album Éramos Quatro, with a re-recording of "Sanidade" and several covers, especially by the Ramones. Guitarist Marquinho (ex-Peter Perfeito) joined the band on the album tour.

The following year, in 2002, they released their first album, completely new, Kavookavala, which, unlike the old ones, was not worked on by the label, and had an inexpressive sale, in addition to the departure of bassist Canisso at the beginning of the tour. From that moment on, the band went into crisis with the Warner label. After a year of trying to get rid of the label, the band finally made it in 2004.

Fred and Alf's departure - Canisso's return and Caio's arrival (2006-10)

In 2005 the band returns to the scene. With bassist Alf, also lead singer of Rumbora, the band recorded the Ep Pt Qq cOisAh, which was made available for free download via the MTV website.

After a long period out of the media, burnouts and canceled concerts, the need arises for the members to follow their careers with side projects. Digão and Denis Porto launch Denis & Digão by Universal Music, and SuperGalo (Fred, Alf and initially Marquim).

Time passed, and with it came the clash of schedules, a fact that led to Canisso's return, initially just for a concert. Fred, who was already disagreeing musically with Digão, decided to leave the band, as he had had a fight with Canisso, who becomes fixed in the band again. Caio, Dr. Madeira's drummer, is called to Fred's place. The band went back to playing several shows, launched a tour in 2008, labeled "A volta de Canisso", they continued to perform medium-sized shows throughout Brazil, rescuing old fans and conquering younger audiences. This tour managed to make the band come back to the fore. The band's main appearance was on Altas Horas, in April 2008. In the meantime, the band lowered the fee to have more shows, with Digão booking the shows, and Canisso becoming the road producer and collector of fees.

In 2009, it was possible to see clues that the situation would return to be favorable for the band. After seven years away from the mainstream media, the band said it was ready to return to play together with the great names of rock worldwide. Digão said: "after all, one of the bands that was most successful in the 1990s and early 2000s would never end little by little. On the contrary, time was good for us to learn not to depend 100% on the nasty media!"

2010 decade

At the end of 2010 the band returns to record a music video of the song "JAWS"; on December 18, 2010 the band recorded the DVD Roda Viva at Kazebre Rock Bar, in São Paulo. About 15 thousand people attended the recording, which has about 25 tracks, in addition to the participation of the bands Velhas Virgens and Dead Fish. The DVD was released on January 15th at Circo Voador, in Rio de Janeiro, in a show with the participation of Dead Fish.

In May 2011, the band released their DVD Roda Viva no Opinião in Porto Alegre. In November of the same year, he performed at the SWU Music & Arts Festival. In February 2012, he recorded another Luau MTV, at Pepê beach, in Rio de Janeiro, playing his outstanding classics.

In 2012, Raimundos released, together with their idols from Ultraje a Rigor, the album O Embate do Século: Ultraje a Rigor vs. Raimundos, where bands played songs from other people's repertoire. The album was released on July 20, 2012, by Deck Records. The two bands performed together on the program "Agora é Tarde".

Raimundos' eighth new album and first in twelve years, Cantigas de Roda, was released in 2014. Produced with the help of Billy Graziadei, leader of Biohazard, it began recording in September 2013 and was fully financed by crowdfunding, which reached R$ 122.7 thousand despite the initial aim being R$ 55 thousand Canisso described the album as being of heavy songs. "It's going to be a soundtrack for wheel, circle music" In July 2013 the band released the unprecedented song Politics" on its official website for download, in parallel the song was also released on 89 FM Radio Rock. On July 13th they released on the internet the music video in celebration of the World Rock Day In 2014, the band played in the third edition of Lollapalooza Brasil.

In 2015, Raimundos recorded two rock versions of the samba "Meu Lugar", by Arlindo Cruz: one for the opening of the skate bowl world championship, Oi Bowl Jam 2015, broadcast by Rede Globo, called "Meu Lugar (Madureira)" ; another for the opening of the soap opera Malhação, called "Vitória para Commorar (Meu Lugar)". In 2016, the DVD Raimundos Acústico was recorded in Curitiba, with the participation of several artists, such as Fred, the drummer of the original formation,[62] Ivete Sangalo, Alexandre Carlo and Marcão, which was released in the second quarter of 2017.[ 64] In March 2017, they released the music video for "Bonita", the first working song on the acoustic DVD.[65]

On the 25th anniversary of the release of the band's debut album, a commemorative tour was launched with the presence of drummer Fred, in which he shared the presentation with Caio, in an unusual formation with two drums on stage.

In 2019, the band was invited to perform at the Rock in Rio festival. Canisso, Digão, Caio and Marquim shared the World Stage with the band CPM 22, being one of the highlights of the second night of the festival.

Members

current formation

Digão - guitar (1992-today), vocal (2002-today), drums (1987-1992);

Canisso - bass and backing vocals (1987-2002, 2007-today);

Marquim - guitar and backing vocals (2002-today);

Caio - drums and backing vocals (2007-today).

Renato e Seus Blue Caps is a Brazilian rock band that emerged during the Jovem Guarda period and became famous for its versions of international songs. It is considered the furthest set in activity in the world.

Biography

Group formed in 1960 by brothers Renato Barros, Ed Wilson and Paulo César Barros, Euclides de Paula (future solo guitarist and arranger for the instrumental group The Pop's) and Gelson, young residents of the neighborhood of Piedade, in Rio de Janeiro, with the name Bacaninhas from Rock da Piedade.

The first name was censored and the group changed its name, inspired by an American rock and roll and rockabilly ensemble, Gene Vincent and His Blue Caps. TV Rio, presented by Carlos Imperial.

They recorded their first single in 1962 and were notable mainly for their versions of English-language songs (mostly British), such as "No Te Esquecerei", version of "California Dreamin'", by The Mamas & The Papas, "Menina Linda ", version of "I Should Have Known Better" and "Until the End", version of "You Won't See Me" by the Beatles

In 1963, Ed Wilson left the group and began a solo career, being replaced by Erasmo Carlos, who had a brief participation in the group. They became a success performing in the Jovem Guarda program, in concerts, parties and balls. In 1966 they appeared in the film Rio, Verão & Amor.

On July 28, 2020, vocalist, guitarist and band leader Renato Barros passed away at the age of 76.[6][5]

The group was formed by Renato Barros, voice and guitar; Paulo César Barros, voice and double bass; Erasmo Carlos, substitute for Edson Barros, voice; Carlinhos, guitar; Tony and later Gelson, drums; and Cid, saxophone.[

Os Replicantes is a Brazilian punk rock band, formed in the city of Porto Alegre in 1983.

Name origin

The band's name The Replicants is a reference to the androids in Ridley Scott's film Blade Runner (1982), in which the film's replicants were much like human beings but stronger and more agile.

Story

Early career

On May 16, 1984, with Wander Wildner (vocals), Cláudio Heinz (guitar), Heron Heinz (bass) and Carlos Gerbase (drums), the band performed professionally for the first time, at Bar Ocidental, in Porto Alegre. In 1984, they recorded the song Nicotina in a four-channel jingle studio, with the help of music producer Carlos Eduardo Miranda. They took the song to the newly created Ipanema FM, which included it in their programming. In 1985, they started to perform more shows, recorded a video for "Nicotina", the first in the history of rock in Rio Grande do Sul, and decided to record their first album: a double compact (vinyl) with four songs: "Nicotina", "Rockstar", "The Future is Vortex" and "Calhorda Surfer". The disc is distributed by the Vortex seal, owned by Replicantes. Independently, the single arrives in several Brazilian cities and sells two thousand copies. Until 2006, they recorded ten albums, two video tapes, a DVD and toured Europe twice.

national recognition

Afterwards, they make a video for "Surfista Calhorda" and are invited to participate in the Rock Garagem compilation, with the song "O Princípio do Nada". In 1986, they signed a contract with the record label RCA (later BMG), and recorded the LP O Futuro é Vórtex, in São Paulo. The songs "Surfista Calhorda" and "A Verdadeira Corrida Espacial" are featured in the Rock Grande do Sul compilation, featuring the bands DeFalla, Engenheiros do Hawaii, Garotos da Rua and TNT. "Surfista Calhorda" has good acceptance on radio stations across the country and soon becomes a hit. The second album, released in 1987, also by BMG, is Histórias de Sex e Violência, another classic, and the band's most iconic, with "Chernobil", "Sandina", "South Africa", "Mysteries of Human Sexuality" , "Adultera" (censored), "Sex & Violence", "Astronaut", "Punk Party", "Tom & Jerry" and "Lie" composing one of the most representative Brazilian punk rock albums in history. At that time they played a series of shows in São Paulo, playing alongside other bands from the scene at the time, such as Plebe Rude, Cólera, Garotos Podres and 365. They released the first video of Brazilian music in video stores, the VHS tape Os Replicantes em Vortex, with music videos and concerts of the time.

New phase

In 1989, they released their fourth album, third by BMG, also Papel de Mau, with Luciana Tomasi (the band's producer since the beginning) on keyboards and backing vocals. After two release shows, Wander Wildner leaves the band. Drummer Carlos Gerbase becomes the lead singer of Replicantes and they call Cleber Andrade for the drums. In 1991, with their friend and saxophonist King Jim, they recorded their fifth album, the vinyl Androids Sonham com Guitarras Elétricas, released by Vortex. They continue doing shows and video clips. Shortly thereafter, the band's friend and producer at the time, Cléber Andrade, also the drummer of Cobaias, took over the drumsticks of Replicantes.

Return of Wander Wildner and tour in Europe

In 2002, Carlos Gerbase leaves Replicantes. Wander Wildner resumes vocals, in a show at Bar Ocidental, in May, on the band's eighteenth birthday. In April 2003, they released the CD Go Ahead, and in May they went to Europe on their first international tour, playing 24 shows in 27 days. The record for this tour comes out in January 2006 on the DVD Go Ahead: The First European Tour A Gente Never Forget. In May 2006 they returned to Europe on the Old School Veterans Braziliasta tour.

Wander output and current phase

On the way back from the tour, they do some shows in Rio Grande do Sul, Paraná and São Paulo. Wander decides to stick with his solo career as "cheesy punk". Vocalist Júlia Barth joins the band, who made their debut show at OX, Porto Alegre.

RPM (Acronym for Revoluções por Minuto) is a Brazilian rock band, formed in 1983, having been one of the most popular in the country from 1984 to 1987. It was one of the most successful bands in the history of Brazilian music. In the second half of the 1980s, they managed to break all sales records in the Brazilian phonographic industry.

Story

Formation

It all started in 1980, in São Paulo, when Paulo Ricardo was dating Eloá, who lived in front of the house where Luiz Schiavon was rehearsing with May East. The couple decided one day to visit their neighbors, who were at a crucial rehearsal and decided to sing in English or Portuguese. Paulo Ricardo cast his vote, giving his opinion on the lyrics in Portuguese and that's how he met Luiz Schiavon. On that day they talked a lot about music. Paulo was starting his career as a music critic and Schiavon was a classical pianist, who was looking for a new, more popular path, but found it difficult to find someone. That's how Paulo received the invitation to join "Aura", a jazz-rock band that still had Paulinho Valenza on drums and Edu Coelho on guitar from Curitiba.

After three years of rehearsals and no show, Luiz fell in love with electronic music and the technology of new synthesizers, while Paulo decided to live in Europe – first in France and then in London, from where he wrote about musical news for Somtrês and he corresponded frequently with Schiavon. This clash of personalities drove the creation of RPM after the duo's work was resumed at the end of 1983, in São Paulo.

Together, they created the first songs. The first ones were Olhar 43, A Cruz and A Espada and the song that would name the band that was born there: Revoluções por Minuto. They recorded a demo tape of these songs with a drum machine and sent them to the CBS record company, which considered them ambiguous and difficult to play on radio.

The name 45 RPM (45 revolutions per minute) was initially suggested in a list of names made by a friend. Schiavon and Paulo liked the name, but removed the 45 and changed the "Rotations" to "Revoluções". They invited guitarist Fernando Deluqui (ex-guitarist of singer May East, ex-member of Gang 90 and the Absurdettes) and drummer Junior Moreno, at the time just 15 years old. Soon the band started to perform in nightclubs and then Junior had to leave, as he was still underage (apparently he even played in some shows, hiding his age, but it wouldn't be possible to continue like this for a long time). Who became the new drummer was Charles Gavin (ex-Ira!, future drummer for the Titans) to complete the group. Already called RPM, they got a contract with the Sony Music record label, with the 1984 single, which would come with the tracks Louras Geladas (the song became a hit in dance clubs and radio hit charts) and Revoluções por Minuto (which was censored at the time). Louras Geladas fell in favor of the public all over the country and led the band to record their debut album, with drummer Paulo PA Pagni (ex-Patife Band), who joined RPM as a guest, in the middle of the recording of LP, which explains its absence on the cover of the album Revoluções Por Minuto. Charles Gavin had left the group to join the Titans.

1985: Revolutions per Minute

In May it arrives at Revoluções Por Minuto stores, in the vacuum of a country still perplexed by the death of Tancredo Neves. The mixture of platonic passion and the alleged declaration of love in Olhar 43 is popular on the radio and opens the way for other, more politicized and/or conceptual tracks (such as the painful and nonconformist Juvenília) to do the same. The tracks on the disc also deal with themes such as international politics and socioeconomic transformations. The songs are marked by the strong presence of electronic drums and the gloomy atmosphere of Luiz Schiavon's arrangements. The album's success is so much that RPM quickly got a streak of hits on the radio (eight of the eleven tracks on the album) and reached the mark of 900,000 copies sold in just over 1 year.

1986: Live Pirate Radio

Soon after the first publicity shows, RPM signed a contract with mega-entrepreneur Manoel Poladian, who was looking for a rising band in Brazilian rock for his cast of platinum MPB artists. The usual disco stages are replaced by a mega production, with Ney Matogrosso signing light and direction, laser cannons and crowds squeezed into gyms and stadiums. At this point, Paulo Ricardo is already considered a sex symbol: he prints several magazine covers and drives hysterical fans crazy.

With no future hits up his sleeve and to keep the band going, Poladian, musicians and record label released in July 1986 a new album, with part of the record of two concerts of the historic tour. Rádio Pirata Ao Vivo's repertoire features four new recordings (two covers) and five tracks from Revoluções Por Minuto. With the help of the Cruzado Plan's frozen prices, 500,000 copies are sold in advance. Quickly sales of Rádio Pirata Ao Vivo soared and reached 3.7 million. RPM becomes the best-selling band in the national phonographic industry so far. It was such a success that in the same year the group was the main theme of an integral edition of the news program Globo Repórter, with a report by Pedro Bial.

However, vocalist Paulo Ricardo became known only as a sex symbol and sought out and seen by journalists and fans as a model, not a musician.

1987: the first separation

Even with all the success in Brazil and in countries like France and Portugal, the band was going through a difficult situation.

In June, there was the official release of a mix album, entitled RPM & Milton, with the participation of singer Milton Nascimento.

The failure of the RPM Discos project, the group's own label, ended up causing conflicts among its members. An LP was even produced with the São Paulo group Cabine C (led by ex-Titã Ciro Pessoa), which, pressed and distributed by RCA, was a great commercial failure. Also in 1987, Paulo Ricardo, Fernando, Schiavon and PA announced the official separation of the group.

1988: Four Coyotes

The group resumed activities in 1988, with the album RPM (better known as Quatro Coyotes), 250,000 copies were sold in advance indicating another great success, such as their predecessor, Radio Pirata ao Vivo. With the economic crisis of that year, several internal fights between the members of the group did not allow the record company to promote the songs in soap operas by Rede Globo, causing sales considered below the standards of the RPM and causing the album to reach 450,000 copies. Even so, the album entered the list of the 5 best-selling LPs that year among all other Brazilian music artists. RPM stood out, as it surpassed Roberto Carlos in terms of sales, still the company's biggest source of revenue.

This album had a high cost for the record company as required by RPM. The album was recorded in Búzios with all the infrastructure set up in a beach house so that the construction of lyrics and arrangements could be completely isolated. The label provided a private plane for the band to travel to the US to follow the mix, staying in 5-star hotels, with limousines available full-time. RPM had treatment offered by entrepreneurs that no other Brazilian artist had achieved so far.

Separated for more than six months, the band resurfaced, apparently more mature, with a record basically based on percussion (by Brazilian Paulinho da Costa, based in the USA). The sound is strictly loud, with the instrumental overlapping the lyrics (all except Ponto de Fuga, by Paulo Ricardo). Also noteworthy are the eroticism of A Dália Negra and the social criticism of O Teu Futuro Espelha Essa Grandeza, with the participation of Bezerra da Silva, Partnes remained in first place in the charts for a few weeks.

The album was highly praised by critics considering it one of the best built works of national Rock, the public expected that RPM would keep the same Tecnopop style of the 3.7 million albums sold" Rádio Pirata ao Vivo", criticizing the new format that the band adopted, reflecting in its marketing. Music critics from Brazil and other countries considered the work beyond its time and not understood, which is why it is classified as one or perhaps the best Brazilian Rock album.

The group would also perform the re-recording of "A pagina do relâmpago Elétrico", by Ronaldo Bastos and Beto Guedes, for the album/tribute to composer Ronaldo Bastos, entitled "Cais", released by Som Livre, in 1989.

1993: Paulo Ricardo & RPM

Despite not having keyboardist Luiz Schiavon and drummer Paulo PA Pagni, this album is considered by many to be the band's third studio album. With Paulo Ricardo (vocals and bass), Fernando Deluqui (guitars), Marquinho Costa (drums) and Franco Júnior (keyboards), this is the band's heaviest album. Without the influence of Schiavon, the band bets on heavy guitars and well-constructed solos by Deluqui. The album comes with a dominance of guitars and garage rock style and influences from Peter Frampton and Pink Floyd.

The record recorded in Portuguese and Spanish with simultaneous release throughout Latin America promised to rescue the national Rock that suffered while seeing country music and axé dominate the phonographic market, the RPM that was reappearing for the third time came with a difficult mission. The song "Pérola" quickly reached first place on the radio charts all over Brazil, the song "Genese" the opening theme of a global soap opera was very well accepted by the general public, other big hits like "Surfista Prateado" and "Veneno" also had highlights. In the next year the band started to produce new songs that ended up not being finalized but what would be the songs of the new album can be found on the internet under the name of "Nocturne". Fernando Deluqui decides to leave the group and the group still plays shows with another guitarist but soon ends its activities. In 1995, Deluqui was invited to join Engenheiros do Hawaii recording the album "Simples de Coração" and touring with a band. Paulo Ricardo, in turn, would follow the paths of MPB.

2002: MTV RPM 2002

In 2001, the four musicians from RPM met again to rehearse. Realizing the perfect rapport and the desire of everyone to be together again on stage, they began the return of RPM, including the return of businessman Manoel Poladian, considered the "fifth coyote".

In 2001 the single "Vida Real" is released, a Portuguese version (composed by Paulo Ricardo) of the song "Leef" by the Dutchman Han van Eijk, the official theme of the world's first edition of the reality show Big Brother, which was commissioned by produced by Rede Globo to be the opening theme of the Brazilian edition of it.

The band returned to the media with the CD and DVD MTV RPM 2002, recorded at Teatro Procópio Ferreira, in São Paulo, on March 26 and 27, 2002. In addition to the great hits, the band presents new songs, such as Fatal, Carbono 14 , Rainha, Vem Pra Mim and Onde Está o Meu Amor (recorded in the studio and included in the soundtrack of the soap opera Esperança, by Rede Globo). ); by Roberto Frejat, from Barão Vermelho, in the re-recording of Exagerado, a hit by Cazuza, and the virtual participation of Renato Russo in the song A Cruz ea Espada. The CD sold 300,000 copies and DVD 50,000 . dominated all street corners and street vendors at that time, this work was well marketed.

In 2003, again with MTV, they participated in the Luau MTV project.

2003: New separation

At the end of the MTV RPM 2002 tour, the band starts to work on an unreleased album, but they end up separating again. Speculation says the band broke up after the other members found out that Paulo Ricardo had registered all the rights in his name, starting a legal dispute over the RPM brand. Others say there were disagreements about the band's sound.

Luiz Schiavon and Fernando Deluqui, together with André Lazzarotto, released the album LS&D (Viagem na Realidade) (2000 copies were released). The song "Madrigal", which was the opening theme of the telenovela Cabocla, was well executed.

Paulo Ricardo and drummer Paulo PA Pagni formed the band PR.5. Despite the failure of the Zum Zum cd, Paulo Ricardo released the song Eu Quero Te Levar.

2007: The return

In 2007, Paulo released the CD Prisma, with a pop rock vibe with the tracks "Diz" and "A Chegada", with the members of PR.5 as support musicians, including drummer Paulo PA Pagni and the participation of Luiz Schiavon in the song "The D-Day, The H-Hour".

Also in 2007, the RPM group played together with all its members in São Paulo, with great success.

The band announced the release of a box with the band's first 3 albums and another CD with remixes, covers and unreleased tracks, along with the DVD Rádio Pirata - O Show, containing the record of a concert held in December 1986, in São Paulo, filmed by Rede Globo.

In 2007 Fernando Deluqui released his second solo album entitled DELUX, a well-prepared album featuring Schiavon in the composition of the song "Chuva".

Luiz Schiavon was keyboardist, conductor and musical director of the program Domingão do Faustão on Rede Globo from 2004 to 2011.

2011: Elektra

At the end of the year 2010, Paulo Ricardo posted on his Twitter that the band would meet to record a new album in 2011. Schiavon also confirmed their intention to return, saying they are seeing possibilities for a return to the stage, since his band on Domingão do Faustão would not continue in 2011.

Days after the rumors, Schiavon confirms on his twitter that the band was already writing for the new album. According to Paulo Ricardo, the band wanted to make a sound that resembles current bands that mix rock with electronic music such as Muse, The Killers, Blur, among others. There were some rumors about producer Liminha, who was responsible for producing most of the bands from the 80s and 90s, such as Titãs, Os Paralamas do Sucesso, Ultraje a Rigor, Ira!, Kid Abelha, Cidade Negra, Chico Science & Nação Zumbi, O Rappa, among others. But the album was produced by Paulo and Schiavon. In addition, the concerts of the tour to promote the album were directed by Ulysses Cruz.

The premiere of the 2011 Tour took place at the honored event in São Paulo Virada Cultural. A month after this performance, the title of the album, called Elektra, was released and four songs were made available for download on the band's official website. The songs, "Very Tudo", "Twilight" and "Ela é bem (for me)" presented the tone of the album, more focused on electronic music. The fourth song, "Dois Olhos Verdes" is more familiar to the 80's RPM sound, and was chosen to be the first single.

Initially the band would release 4 tracks monthly on the official website and release the album in the middle of the year, but the promise was not kept, and the album (along with the hitherto unknown songs) was only released on December 6th. The album was released by Building Records in a dual format, the second CD being made up of remixes of some of the tracks on the album.

The album Elektra, in addition to flirting with electronic music, also relies heavily on the arrangements by Luiz Schiavon, who, together with electronic synthesizers, practically monopolizes the conduction of the songs. The lyrics are the lightest of the entire discography of the band, prioritizing themes like love and fun - only two songs, "Very Tudo" and "Problema Seu" carry a more reflective theme.

The debut of the new tour was on May 20, 2011, at Credicard Hall, in São Paulo. However, on May 15, 2011 the band performed on the show Domingão do Faustão.

2014-2017: Deus Ex Machina

At the end of 2014, RPM announces the recording of a new album, entitled Deus ex Machina, produced by Lucas Silveira, from the band Fresno. The disc is ready the following year, but is discarded. In the same period, Paulo Ricardo is invited to be a judge of the talent show Superstar, on Rede Globo, and as he is once again in evidence, he releases a solo album in 2016, claiming that the band would continue in parallel, something that did not happen. After fulfilling the concert schedule until the beginning of 2017, the band announced a hiatus and later it was revealed that Paulo was no longer interested in continuing with the band.

2018-currently: New lineup with new songs and the death of PA

After the members tried to get back together with the band and Paulo Ricardo declared that he wanted to pursue a solo career, Schiavon, Deluqui and PA decided to continue the band and called on bassist and vocalist Dioy Pallone to replace Paulo. In the group's new lineup, he is taking turns vocals with Deluqui, with the band producing new songs for an upcoming album.

At the end of 2018, the singles Ah! Where are you? and Escravo da Estrada, performed by Pallone and Deluqui

The new tour started in 2019, with Schiavon, Deluqui, Dioy and drummer Kiko Zara, replacing Paulo PA Pagni, who was already facing serious health problems. The band also performed an acoustic concert in April of the same year in São Bernardo do Campo, metropolitan region of São Paulo, this being the last time the group performed with PA

On June 22, after 34 days in a coma at Hospital São Camilo, located in Salto, São Paulo, Pagni died at the age of 61, a victim of bronchopneumonia and complications resulting from pulmonary fibrosis, a disease that the musician had been facing in recent months. PA was buried next to his parents, in the municipality of Araçariguama, where he lived since 2004.

Book: Revelations Per Minute

In December 2007, the book "Revelações Por Minuto" was released, telling the details of the band's trajectory, from its beginning (1984) to its supposed end (1989). The book was promoted at a large press conference in São Paulo, with the presence of the author, Marcelo Leite de Moraes, and the four members of the band.

Formation

Dioy Pallone - vocals and bass (2018-currently)

Fernando Deluqui - guitar and vocals (1983-1989, 1993-1994, 2001-2004, 2011-currently)

Luiz Schiavon - keyboards (1983-1989, 2001-2004, 2011-currently)

guest musician

Kiko Zara - drums (2019-currently)

Former members

Paulo Ricardo

Charles Gavin

Paulo PA Pagni

Marquinho Costa

Franco Junior

Sá, Rodrix & Guarabyra was a Brazilian musical trio formed by Luiz Carlos Sá, Zé Rodrix and Guttemberg Guarabyra. It appeared in 1971. It became notable for the creation of the so-called rural rock[1], in which various musical influences were mixed, from rock to country music. In 1973, Zé Rodrix left the trio, which became a duo (Sá and Guarabyra). In 1999, Zé Rodrix rejoined the duo, until Rodrix's death in 2009.

Story

Zé Rodrix, after leaving the super group "Som Imaginário", in 1971, participated in the "Festival da Canção de Juiz de Fora", in partnership with the singer and composer Tavito (also ex-Som Imaginário), where the duo came out as the champion with one of Zé Rodrix's most famous songs, "Casa no Campo", which later became a great success in the voice of Elis Regina, who has in her lyrics a passage that mentions "composing rural rocks", creating then the style of the same name, full of regional influences, flirting with genres such as rock, folk, sertanejo; among others.

Before joining Zé Rodrix, both Sá and Guarabyra had already had songs recorded and achieved success. The first had the song "Giramundo" recorded in 1966 by Peri Ribeiro; while Guarabyra was successful with the song "Margarida", performed with the group "Manifesto", winner of the 1967 "Festival Internacional da Canção".

In 1971, there was finally the union that gave rise to the trio. During this period the trio composed a multitude of songs, including hits such as "Mestre Jonas", which is one of the highlights of their careers.

Semper Livre is a Brazilian pop rock band created in Rio de Janeiro and formed only by women. The group's name refers to a famous brand of feminine pads.

Semper Livre won in a traditionally male territory, the territory of rock. Interpreters who incorporate rock music into their repertoire are not rare, but in Brazil there has never been a consecration of a female group in which its members sing a free schedule (...). In the article "Uma Batucada de Rock", from 1985, Veja magazine commented on the hitherto unprecedented success for a female group in Brazil, while abroad there had been similar bands for some time, such as The Runaways and Girlschool.

In 1984, Semper Livre released their first album, entitled Avião de Combate and produced by Ruban, the same producer of the group As Frenéticas O vinyl would soon become a great success because of the theme song "Eu Sou Free". a partnership between Ruban and Patrícya Travassos, which became one of the greatest hits of the 80's. In 1986, another album would come, Semper Livre.

In 1991, the band returned with the album Vicios de Cidade and a line-up that, from the original, only had the drummer. In 2016 they released the new album A Boa Moça.

Anne Duá (voice)

Renata Prieto (guitar and vocals)

Flávia Cavaca (bass and vocals)

Leticia Andrade (battery)

Denise Mastrangelo (keyboard and vocals)

Skank is a Brazilian rock band formed in 1991, in Belo Horizonte, in the state of Minas Gerais. The band has sold about 6.6 million records between CDs and DVDs, Samuel Rosa (guitar and voice), Henrique Portugal (keyboards), Lelo Zaneti (bass) and Haroldo Ferretti (drums) gathered around the same interest : transporting the Jamaican dancehall atmosphere to the Brazilian pop tradition. In 2019, with 28 years of uninterrupted career, the band announced that they would take a break, but before that they would go on a farewell tour.

Story

The beginning (1983-1993)

In 1983, Samuel Rosa and Henrique Portugal started playing in a reggae band called Pouso Alto do Reggae, along with brothers Dinho (drums) and Alexandre Mourão (bass). In 1991, Pouso Alto got a show at the AeroAnta concert hall, in São Paulo, but as the Mourão brothers weren't in Belo Horizonte, bassist Lelo Zaneti and drummer Haroldo Ferretti were called to the show. Before the performance, the group changed their name to Skank, inspired by Bob Marley's song "Easy Skanking" ("skank is a type of dance in ska or a guitar technique used in ska, rocksteady and reggae and "skunk" is the name of a variation of cannabis sativa, popularly known as marijuana.) The band made its debut on June 5, 1991, and due to the final of the Brazilian Championship on the same day, the paying public was 37 people. were Charles Gavin and André Jung, former drummers for Titãs and Ira!, respectively. After the show, the band enjoyed the performance and decided to stay together. Janis, Maxaluna and L'Apogée The musical proposal was to transport the atmosphere of Jamaican dancehall to the Brazilian pop tradition.The first album, Skank, was released independently in 1992. Although the members do not even have compact disc players at home , made in CD format, according to Ferreti, "to get the attention of journalists, radio stations and perhaps a record company. It was a bet on quality, on innovation.” The band's prominence in the underground scene aroused the interest of the Sony Music label, which, together with Skank, inaugurated the Chaos label in Brazil and re-released the album in April 1993.

Until 1993, we played a lot in Minas Gerais. If we went far, it was to Espírito Santo or Goiás. Until Calango came out, we were anonymous out of here.

— Samuel Rosa

National success (1994-1999)

The second album, Calango, was released in 1994 and sold over 1 million copies and songs like "Jackie Tequila" and "Te Ver" became hits sung across the country. The following album, O Samba Poconé (1996), led the group to perform in France, the United States, Chile, Argentina, Switzerland, Portugal, Spain, Italy and Germany, in their own shows or at festivals alongside bands like Echo & The Bunnymen, Black Sabbath and Rage Against The Machine. The single "Garota Nacional" was a hit in Brazil and topped the Spanish chart (in the original version) for three months. The song was the only copy of Brazilian music to be part of the Soundtrack for a Century box, released to celebrate 100 years of Sony Music. The band's discs won North American, Italian, Japanese, French editions and in several countries around the world. While O Samba Poconé reached almost 2 million copies sold in Brazil, Skank was invited to represent Brazil in Allez! Hi! Olé!, official record of the 1998 Soccer World Cup. In the next albums, the band's music began to equalize electronic origins with new psychedelic and acoustic influences, revealed in the albums Siderado (1998) and Maquinarama (2000).

Style Changes (2000-2019)

In Siderado, the group worked with John Shaw (UB40) and Paul Ralphes. "Answer", "Mandrake e Os Cubanos" and "Saideira" became hits. The album was released in July 1998 and mixed at Abbey Road, the Beatles-acclaimed London studio; Daúde and the instrumental group Uakti were the special guests, and the album sold 750,000 copies Released in July 2000, Maquinarama was produced by Chico Neves and Tom Capone and sold 275,000 copies. The main singles from this album were "Três Lados", "Balada do Amor Inabalável" and "Canção Noturna". Maquinarama is considered a watershed in the group's career, which no longer used metal in its recordings. With the new works came more radio hits, such as "Balada do Amor Inabalável" – this one with echoes of Sérgio Mendes in a cyberpunk atmosphere. The group even recorded with Andreas Kisser (Sepultura), Manu Chao, Uakti and Jorge Ben Jor, as well as being praised by Stewart Copeland for her version of "Wrapped Around Your Finger", included in the Latin tribute to The Police, "Outlandos D 'America". In 2001, the band recorded their hits on the CD and DVD MTV ao Vivo (2001), which sold more than half a million copies and earned the number one spot on the charts for the ballad "Acima do Sol".

In 2002, Henrique Portugal and Haroldo Ferreti participated in the album Falange Canibal, by singer-songwriter Lenine.

The beginning of 2003 was invested in the preparation of Cosmotron, an album that hit stores in August of that year. While the first single, the psychedelic ballad "Dois Rios", played on radio stations in Brazil (and the award for best pop music video at MTV Video Music Brasil 2003, the group made another international tour, with passages in Portugal, England and Belgium , as well as a performance on the main stage at the festival in Roskilde, Denmark, alongside groups such as Blur and Cardigans.The album tour (with scenery by Gringo Cardia from canvases by Beatriz Milhazes and eight new songs in the repertoire) debuted in August 2004, at Canecão, in Rio de Janeiro.With their new hit, "Vou Esquer" (best pop music video on MTV Video Music Brasil (2004), Skank lived an unprecedented experience: through new commercial formats, it is the ringtone with the highest number of downloads in the country. The album reached the mark of 210 thousand copies sold. In November 2004, the band released their first hit compilation, Radiola, with a repertoire focused on the albums Maquinarama (2000) and Cosmotron (2003). In addition to eight hits remastered in New York, the album brought four new releases to the public: the unpublished "Um Mais Um" and "Where are you?" of the Rider sandals) and Bob Dylan's "I Want You" (recorded in late 1999 for a tribute to the American singer who was never released; is the original version of "Tanto" from the debut). Covering Radiola's cover is the work of brothers Rob and Christian Clayton, American plastic artists, contributors to Rolling Stone and Zoetrope magazines (by Francis Ford Coppola) and art directors of the video "All Around The World", by Oasis. The images of graphic material from Skank's first compilation, "Happy All The Day" and "Long Journey", are part of "Six Foot Eleven", an exhibition by the Clayton Brothers in partnership with the gallery La Luz de Jesus (Los Angeles). Radiola has sold over 210,000 copies.

Live presentation in 2007.

Entitled Carrossel, Skank's ninth album was recorded at the band's Máquina studio in Belo Horizonte. On the occasion, fans were able to watch, live, part of the creation and production process of the album. The band installed a unique camera, which transmitted images in real time. The album arrived in stores by Sony BMG, in August 2006. Produced by Chico Neves and Carlos Eduardo Miranda and mixed in New York, at the Sterling Sound studio, the album brought 15 new tracks, by Samuel Rosa with Nando Reis, Chico Amaral, César Maurício, Rodrigo F. Leão, Humberto Effe and Arnaldo Antunes, the latter inaugurating the partnership with the singer of Skank. The first single, "Uma Canção é Para Isso", was made available for audition on the band's website a fortnight before the official release of the album. The CD cover was graphically designed by Marcus Barão, who used surrealist paintings by Glenn Barr, a fine artist from Detroit. Barão was responsible for the art of other Skank albums, such as Skank Ao Vivo MTV, Maquinarama, Siderado and Skank (the band's debut album). At the time of Carousel's release, Skank also made all the album's content available on a cell phone device. With this action, Skank became the first Brazilian band to do this kind of mobile action. Sony Ericsson's W300 model, which came with all the songs from the 2006 album, sold more than 75,000 units and earned the band the first Golden Cell Phone in Brazil, a certification recognized by the Brazilian Association of Record Producers (ABPD).

Two years after the launch of Carousel, in October 2008, Skank reappeared with Estandarte, launched on the market with a strong viral campaign. While the album's first single, "Ainda Gosto Dela" – featuring Negra Li – played on radio stations in Brazil, the band promoted yet another new action, "Vote no Bis", letting the audience at their shows choose the songs that wanted to listen on Bis, by sending SMS. In March 2009, Skank announced the second single from the album, "Subtlemente", a song chosen by fans through a vote that the band promoted on their official website. Rolling Stone magazine considered it one of the 25 best national albums released in 2008 and the song "Chão" one of the 25 best songs. In August 2009, Skank won the "Market Initiative" trophy at the 16th edition of the Multishow Brazilian Music Award. On the same night, the band also took the Best Music Video award for "I Still Like Her". At Video Music Brasil 2009, Skank won the award for Best Video, with the song "Sutilmente" (Samuel Rosa/Nando Reis). In the same year, the album Estandarte was nominated for a Latin Grammy 2009 in the category "Best Contemporary Brazilian Pop Album". On June 19, 2010, Skank recorded, at Estádio do Mineirão, Belo Horizonte, the CD and DVD Multishow Ao Vivo - Skank no Mineirão,[1] the band's project in partnership with Sony Music and the Multishow channel.

The show, which had the special participation of singer Negra Li, doing a duet with Samuel Rosa in the song "Ainda Gosto Dela", received more than 50 thousand people and was the last event held at the stadium, before its closing for renovations aimed at the 2014 World Cup The project was launched in October 2010. The tour premiered on October 1st, on stage at Vivo Rio, in Rio de Janeiro. On November 19th and 20th, the new show premiered in São Paulo, at Citibank Hall. Also in November 2010, Skank received the 1st Digital Music Award, in the "Most Digitally Engaged Artist" category, for being considered the band that invested the most in this format of approaching its audience. Also that year, a commemorative version of the 15th anniversary of Calango with bonus tracks was released. Samba Poconé received the same treatment. In June 2011, Skank became the first Brazilian band to win a Golden Lion at Cannes Lions, an important worldwide advertising award. The award was given to the Skankplay project, a platform that allows anyone to simulate a jam session with Skank and participate in the video for the song "De Repente". The project – created by the collective DonTryThis, in partnership with Skank - was awarded in the category "Best Use of Social Media". In 2012, the band released an album with their first show and their first studio recordings, 91.

In 2014, the band released their album Velocia, with the first single "Ela Me Deixou", whose music video was attended by fans, through a promotion of Trident chewing gum.

In 2016, keyboardist Henrique Portugal, bassist Lelo Zaneti and DJ and producer Anderson Noise participated in a project with singer Milton Nascimento, who is called Nie Myer. The group mixes jazz and electronic music.[20][21]

In 2017, the band recorded a cover of "A Hard Day's Night", by the band The Beatles, for the soundtrack of the soap opera Pega Pega, on Rede Globo.[22]

2019 - break

On November 3, 2019, Samuel Rosa announced that the band will stop activities, with no expected return. A farewell tour would be held in 2020 but had to be postponed to 2021 due to the COVID-19 pandemic.

Musical features

Musical influences and characteristics

Having as main influences from Jamaican music: reggae, ska, dancehall, raggamuffin and dub, soon after they included elements of rock, rockabilly, latin rock, forró, soul, funk, surf music and electronic timbres.

The group's music has a danceable, intelligent atmosphere and has become extremely popular at clubs and parties. Bands that are cited as influential in the band's sound are Os Paralamas do Sucesso, The Police, The Beatles, UB40, Ira!, Titãs and Led Zeppelin, and other important artists such as Tim Maia, Roberto Carlos, Jorge Ben Jor, Michael Jackson, Gilberto Gil and the artists who were part of Clube da Esquina, such as Milton Nascimento, Lô Borges, Beto Guedes, among others.

Members

Samuel Rosa - vocals, guitar and acoustic guitar

Henrique Portugal - keyboards, guitar and backing vocals

Lelo Zaneti - bass and backing vocals

Haroldo Ferretti - drums

Titãs is a rock band formed in São Paulo, Brazil in 1982. Although they originally played alternative pop-rock in their early days, the group has also used several other genres throughout their nearly 40-year career, such as new wave, punk rock, grunge, MPB and electronic music.

It is one of the most successful rock bands in Brazil, having sold more than 6.3 million albums and partnering with several renowned Brazilian artists and several international singers. They received a Latin Grammy in 2009 and won the Press Trophy for Best Band four times.

The initial formation had a very unusual number of members. There were nine members, six of whom were vocalists. Arnaldo Antunes, Branco Mello and Ciro Pessoa sang and sang backing vocals. Sérgio Britto, Nando Reis and Paulo Miklos, in addition to singing, took turns playing keyboards and bass. The rest of the group consisted of André Jung on drums, Marcelo Fromer on rhythm guitar and Tony Belloto on lead guitar. Ciro Pessoa quickly left the group, even before the release of the band's first album in 1984. André Jung was the initial drummer, but was replaced by Charles Gavin in early 1985, establishing the band's classic line-up.

Since then, the band has lost another five members who were never officially replaced: in 1992, Antunes left the group to pursue a solo career. In 2001, Fromer died after being hit by a motorcycle in São Paulo. The following year, Nando Reis also left the band to concentrate on his solo projects. The most recent changes were the departures of Charles Gavin, in 2010, and Paulo Miklos, in 2016, both for personal reasons. After Marcelo's death and Nando's departure, the group started to perform with some guitarists and occasional bass players (Emerson Villani, André Fonseca and Lee Marcucci). From the release of the Sacos Plásticos album (2009), Branco Mello and Sérgio Britto became definitive bass players (with Britto only playing when Mello sings) and Miklos as guitarist until their departure from the group. In 2010, the band returned to using support musicians, with the addition of drummer Mario Fabre in place of Charles Gavin; something that would be repeated in 2016, after Paulo Miklos left, with the entry of guitarist Beto Lee.

Story

Training and first jobs

Almost all the band members met at Colégio Equipe, in São Paulo, in the late 1970s. The exceptions were guitarist Tony Bellotto and drummer Charles Gavin. from the institution, and also influenced by Blitz, they started a band and recorded a tape with songs for girls - at that time, the group was large and included names like Nuno Ramos, who would later become a visual artist. After a performance at the Mário de Andrade Library in 1982, in which Nando Reis acted as a drummer, they began to perform at various nightclubs in the city, under the name Titãs do Iê-Iê.

The name originates from the band's first rehearsals, held in Tony's parents' home library, where there were books such as Titãs da Ciência, Titãs do Esporte, Titãs da Literatura, among others, and this inspired them to create the name Titãs do Yeah yeah.

Former vocalist, keyboardist, saxophonist and guitarist Paulo Miklos describes the beginning of the band as follows:

We were already clear that the cool thing was the creative thing, what we could create together, and defend this creation without prejudice. We had all this load of information, we loved Arrigo [Barnabé], Itamar [Assumpção], that vanguard in São Paulo. I wanted to make some twelve-tone phrases! We were also close to the concrete poetry of Augusto [from Campos], Arnaldo [Antunes] is a guy who studied things. We had this in-depth knowledge of Brazilian popular music, which collided with all international music. We were new wave, but we liked Alceu Valença. (...) We always liked The Clash, for example, which is a band that introduced Caribbean music, reggae, mixed with a grimier, more sectarian punk rock. (...) We were a kaleidoscopic thing.

Before the appearance of "Titãs do iê-iê", the band members already played in several groups. Arnaldo Antunes and Paulo Miklos were part of the band Performática; Nando Reis was a percussionist and crooner of the band Sossega Leão; Branco Mello, Marcelo Fromer and Tony Bellotto formed the Trio Mamao e as Mamonetes, which even performed on the TV Tupi television show, in the musical competition style Olimpop, in which the actress Deborah Seabra, after the performance of the 3 boys, said that they needed to evolve and that they had to study, and Wilson Simonal said they had a more modern taste and that he liked the set. Sérgio Britto and Marcelo Fromer also performed as freshmen on the Chacrinha program, being "gongados" singing the song "Eu Also Quero Beijar", a hit by Pepeu Gomes.

The first concerts by the Titãs do Iê-Iê took place on October 15 and 16, 1982, at Sesc Pompeia, described by the bassist and vocalist of the band Branco Mello as a "damn session", as it started too late, after midnight. At first, the band's look included makeup and colorful suits and polka dot ties. In addition, the first formation had nine members, including Arnaldo Antunes, Branco Mello, Marcelo Fromer, Nando Reis, Paulo Miklos, Sérgio Britto, Tony Bellotto, Ciro Pessoa and André Jung, six of whom were vocalists. Arnaldo, Branco and Ciro were just vocalists, Paulo Miklos sang and divided himself between bass (with Nando Reis) and keyboard (with Sérgio Britto), Sérgio Britto sang and played keyboard, Nando Reis played bass and sang, Tony and Marcelo played guitar and acoustic guitar respectively and André Jung played drums.

the first album

In 1984, Ciro left the band because he didn't want to change the discreet stages of São Paulo's night for television programs of great popularity. Soon after, the band signed with the record label WEA and recorded their first album, now with the official name of Titãs, removing the iê-iê, which caused problems in the speech of radio presenters and live houses, as it was always confused with Iê -Iê-Iê, from which the Jovem Guarda originated.

On this eponymous album are the band's hits such as "Sonífera Ilha", which earned the band several appearances on Raul Gil and Chacrinha programs. On that same album, the Titãs put the song "Toda Cor" on the radio.

After the release of this album, Nando left the Titãs for two weeks in favor of Sossega Leão, which at the time was more financially profitable, but ended up changing his mind and was accepted back.

Leave André Jung, enter Charles Gavin

After a show in Rio de Janeiro, at the end of 1984, the Titãs decided to replace drummer André Jung by Charles Gavin. For some time the band was not satisfied with the way André played and, as dissatisfaction with him increased, so did the admiration for Charles Gavin, drummer who was at that time rehearsing with RPM, and who had also been part of the groups Cabin C and Wrath!. The news that he would be replaced in the band did not please André, as he intended to spend the New Year with his girlfriend in Rio de Janeiro and celebrate the success of the song "Sonífera Ilha". With the band's decision, André returned to São Paulo and two days later joined Ira!.

Second half of the 1980s and stardom

Os Titãs recorded their second album in 1985, Televisão, produced by Lulu Santos. The album served to put the title track on the radio, in addition to the songs "Insensível", "O Homem Cinza", "Massacre" and "Dona Nenê". That same year, the group participated in Areias Escaldantes (1985), singing and acting, but the film was not released for national screening. The record, like its predecessor, sold below expectations.

In November 1985, Tony Bellotto and Arnaldo Antunes were arrested (the first for possession and the second for possession and trafficking in heroin). Bellotto was released on bail. Arnaldo Antunes, in turn, remained behind bars for a longer time, being released after a month. The arrest of the two members would be the culmination of what the group considers its first crisis, started by the bad sales of the first two records.

After these events, the Titãs went back into the studio, whose main change came in the part of the album's production, which was in charge of Liminha. Liminha was the first producer to suggest changes in some tracks, something that until that moment the band did not accept. In June 1986, the band's third album, Cabeça Dinossauro, is released. He opened several doors for the Titãs, with the increase in the number of shows and the fee.

This encouraged the band to enter the studio to record their fourth album, Jesus Não Tem Dentes no País dos Banguelas. The producer Liminha was considered the "9th titan", due to his participation in concerts by the group from São Paulo. After some international performances, the band recorded live a selection of old songs and released the album Go Back, in 1988, and the fifth studio album, Õ Blésq Blom, in 1989. Also in 1988, they participated in the song "Tempo" ( written by Arnaldo and Paulo) on the album Sandra de Sá, by the homonymous singer.

1990s: departure of Arnaldo Antunes, side projects and sales success

Released in 1991, Tudo ao Tempo Agora was the last album with vocalist Arnaldo Antunes. Dissatisfied with the band's musical direction, which at the time left Brazilianness aside in favor of a heavier and rawer sound, the singer left the then octet on December 15, 1992 and started to dedicate himself to a solo career, but would continue to collaborate with his former band co-writing songs.

During the album's tour, on November 25, 1991, the band performed live on Rádio Cidade, broadcast to 22 stations on Rede Cidade, reaching a total audience estimated at 10 million people.

1993's Titanomaquia, produced by Jack Endino, producer of bands such as Nirvana, Soundgarden and Skunkworks, was the third solo album by Iron Maiden vocalist Bruce Dickinson.

In 1994, the band goes on vacation, but the members invest in solo projects. Paulo and Nando release their first solo albums (respectively, Paulo Miklos and 12 de Janeiro); Branco and Sérgio form the Kleiderman; and Tony releases his first book, Bellini and the Sphinx. Back to work, they released Domingo in 1995. In 1997, to celebrate the 15 years of their career, the band accepted to participate in the MTV Acústico project. The CD and video, recorded at Teatro João Caetano, in Rio de Janeiro, reached the number of 1.7 million copies showing an unknown side of the group: the seven members playing unplugged instruments. Among the various guest instrumentalists were producer Liminha and percussionist Marcos Suzano, as well as a string quartet, harp and a brass and wind suit. As guest vocalists, the album featured Argentinean singer Fito Paez and reggaeman Jimmy Cliff, as well as singers Marisa Monte, Marina Lima, Rita Lee and former titan Arnaldo Antunes, who participated in the song "O Pulso".

Taking advantage of the success of the previous album, the band released Volume Dois in 1998, a kind of continuation of Acústico, with reinterpretations of other hits and new tracks. It reached 1 million copies sold.

In 1999, the album As Dez Mais came out, the first entirely non-authorial work. With ten tracks, re-recorded by singers like Tim Maia, Roberto Carlos and Raul Seixas, and bands like Legião Urbana and Ultraje a Rigor. As Dez Mais also had sales success, with 400 thousand copies,

2000s: Death of Marcelo Fromer and departure of Nando Reis

In 2001, the Titãs signed with Abril Music and were about to start recording another work. However, on June 11, 2001, at 39 years of age, guitarist Marcelo Fromer was run over by a motorcycle in São Paulo and died two days later. It was thought at the time that Fromer's death would be the end of the band. However, they decided to move on.

With the beginning of the recordings of The Best Band Ever Last Week, there were doubts about the recording: Tony Bellotto, lead guitarist, thought of recording all the guitars on the album, but changed his mind. It was even proposed that Paulo Miklos and Branco Mello take turns on the instrument, but the final decision was to invite the musician Emerson Villani, who had already played with the band during some shows and tours, including replacing Marcelo in 1998, when he was invited to comment on the 1998 FIFA World Cup by the SporTV channel. The repertoire remained unchanged: the 16 tracks had already been chosen before Fromer's death. His singles were the songs "The Best Band Ever Last Week", "O Mundo é Bão, Sebastião!", "Epitafio" and "That".

On September 9, 2002, bassist and vocalist Nando Reis announced that he was leaving the Titãs. The departure was first informed by Abril Music, which gave as the reason for the departure "personal reasons", and then a more detailed version was released by the musician's press office. In it, the musician says that the deaths of Cássia Eller and Marcelo Fromer shook him a lot, but he says that his departure was due solely to an "incompatibility of thoughts":

My decision to leave the group is due solely and exclusively to an incompatibility of thought regarding the future of the preparation of what would be our next album. Believing that a job of this nature requires the total dedication that for personal reasons I could not offer, we thought it best to switch off at the beginning of the preparation and rehearsals. I do this with a deep regret in my heart because I never imagined that this would happen.

In 2012, the musician would declare that, at the time, he was not able to go into the studio due to the deaths and fatigue from touring, but that the band wanted to record a new album anyway and, therefore, he ended up being fired.

career as a quintet

In 2003, the Titãs released the album Como está voces?, which featured the singles "Eu Não Sou um Bom Lugar", "Enquanto Hár Sol", "Provas de Amor" and "Vou Duvidar".

In 2005, MTV Ao Vivo was released, with some songs from the band's 25-year history and the unreleased "Vossa Excellence" (composed amidst the Mensalão scandal), "Anjo Exterminator" and "O Inferno São os Outros" .

On February 18, 2006, alongside the collective Afroreggae, the band opened the historic Rolling Stones show, held at Copacabana Beach, Rio de Janeiro. The concert was marked by having an audience of approximately 1.5 million people, being the largest audience of all time in a rock concert.

In 2007, the Titãs complete 25 years of career, celebrated with a series of shows together with Os Paralamas do Sucesso, who also complete 25 years of career. The series of shows, which lasted throughout 2008, culminated in a show held at Marina da Glória, Rio de Janeiro, in January 2008, and released on CD and DVD entitled Paralamas e Titãs Juntos e Ao Vivo.

In 2009, Branco Mello confirmed on the official website of the Titãs the premiere, in February, of the film Titãs - A Vida Until It Looks Like a Party, shown on the São Paulo circuit and directed by Branco Mello and Oscar Rodrigues Alves

After six years without releasing a studio album (the longest period of the band's career), in the first half of June 2009 Plastic Bags was released, produced by Rick Bonadio and released by his label, Arsenal Music (with distribution by Universal Music). The album marks the band's entry into a new label, after six years with Sony BMG. Bonadio was known for producing successful bands in the 1990s and 2000s, such as Mamonas Assassinas, Charlie Brown Jr., Los Hermanos, Tihuana, CPM 22, Hateen, NX Zero, Fresno and Strike. In addition, he was also the producer of Ira! in the albums Acústico MTV and Invisível DJ.

The first two singles from the album are "Before You" and "Porque Eu Sei que É Amor", both in the voice of Paulo Miklos. The songs were included in the soundtracks of two soap operas on Rede Globo: Caras & Bocas (7pm) and Cama de Gato (6pm), respectively. The opening theme for the 6pm plot is "Pelo Avesso", from the album Como Somos Vocês? (2003), in the voice of Sérgio Britto.

The band dumped its support musicians, becoming just a quintet. Branco Mello, vocalist, takes over the bass definitively (in other tours, Branco only played in a few songs). Sérgio Britto, keyboardist and vocalist, is also divided between keyboard and bass. Also vocalist Paulo Miklos, in turn, takes over the rhythm guitar. Tony Bellotto and Charles Gavin continue as lead guitarist and drummer respectively.

Charles Gavin's departure and Plastic Bags tour

On February 12, 2010, the Titans announced on their official website that drummer Charles Gavin would be leaving the band for personal reasons. The other four musicians continued with their commitments related to the tour of the Sacos Plásticos album, and the drummer hired to accompany the band is Mario Fabre. According to guitarist Tony Bellotto, Charles Gavin left the band because "It's hard to get old in a rock group." Asked about Mario's status in the band, Tony wryly explained, "He's the official drummer! He's the drummer of the Titans! But he's not one of the Titans, because our story started a long time ago, in Greek mythology..."

Days after this announcement, Charles said in an interview that his departure was already set since the pre-production of the Sacos Plásticos album and during the tour with Os Paralamas do Sucesso. Some of Charles's problems were symptoms of panic and depression, as well as the massive wear and tear of 25 years of touring. Gavin thought about graduating during the Plastic Bags Tour (2009-2010), but said he couldn't stay away from the Titans with so many commitments.

Rock In Rio IV, Future Installations, 30 Years of Career

On September 23, 2011, alongside Os Paralamas do Sucesso, the band participated in the opening concert of the fourth edition of Rock in Rio, on the main stage. The show had the opening of Milton Nascimento, alongside Tony Belloto and the Brazilian Symphonic Orchestra, playing "Love of My Life", by Queen. The show also featured the participation of Maria Gadú. On October 2 of the same year, the band performed on the Festival's Sunset Stage alongside the Portuguese band Xutos & Pontapés, which generated a DVD distributed by MZA Music the following year.

Soon after these performances, the Sacos Plásticos Tour ended, which lasted two years and gave way to the new Futuras instalations show. The new tour would be a test for new songs that would be on the band's next album, then scheduled for 2012/2013, in addition to the band playing some classics.

Titãs with their quartet formation (Paulo Miklos, Sérgio Britto, Branco Mello and Tony Bellotto) and support drummer Mário Fabre

In 2012, the band performed the Cabeça Dinossauro tour, in which they performed the entire album released in 1986 - the tour culminated in the release of the album Cabeça Dinossauro ao Vivo 2012, which records a performance held at Circo Voador, Rio de Janeiro in June of that year. year. The band also re-released the albums recorded between 1984 and 1999 via iTunes and performed two shows commemorating their 30-year career, with the presence of former members Arnaldo Antunes, Nando Reis and Charles Gavin. The show was confirmed by Paulo Miklos before a performance in Manaus, São Paulo, the band's hometown, the 30th anniversary show took place at Espaço das Américas, in Barra Funda, on the night of October 6, 2012 Os seven members gathered at Nando's home on the tenth anniversary of Marcelo's death, which had been the last time they had met.

Unpublished Titans and Nheengatu

Titans in 2013.

In 2013 and 2014, the band played some new songs on the Titãs Inédito tour. They started working on a new album between April and May 2014. Miklos said the album would be "heavy, dirty and mean". Later, Britto confirmed that the album would be released in early May and that the band was already recording songs in the studio, but the name of the new work was not decided yet. In mid-March, Globo FM radio reported that the album would be released in April by Som Livre and would contain 14 tracks. On April 16, the band announced on their Facebook page that the album was ready and would be released in May.

On April 28, 2014, the band released the details of their new work: Nheengatu, released on May 12 of the same year and followed by a tour that generated the CD and DVD Nheengatu ao Vivo, released in 2015.

In February 2016, the band was again the opening group of the Rolling Stones in Brazil for a second and third time, at Estádio do Morumbi, in São Paulo, on two different nights.

Exit of Paulo Miklos, new formation and rock opera

On July 11, 2016, vocalist and guitarist Paulo Miklos announces his departure from the band. According to an official note published on the band's and musician's Facebook profiles, Paulo thanks him for the years of living together and says that from then on he will dedicate himself to music in general, composing and singing, as well as his acting career. To replace him, the Titãs integrate support guitarist Beto Lee, son of singer Rita Lee, to the band, for the continuation of the Nheengatu tour.

The band's first recording with Beto is a version of Pro Dia Nascer Feliz, by Barão Vermelho, for the soundtrack of the 24th season of Malhação, a series on Rede Globo. With the entry of Beto, the band started to integrate in their live repertoire songs that they hadn't played for a long time, how Does It Be That What I Need? and You Can't Always Be God. They also started to have some songs sung by Tony.

Also in 2016, the group revealed that they are preparing an album for 2017. According to Tony, the new album will be a rock opera, and the band intends to enter the studio until mid-2017 so that the album will be released in the second half of the year. With reference to the albums Quadrophenia, by The Who, and American Idiot, by Green Day, the album, with more than 30 songs, will have its history written with the help of Hugo Possolo and Marcelo Rubens Paiva. In April 2017, most of the tracks were ready, according to Branco.

Also in April, the band began a tour entitled "Uma Noite no Teatro" in a show that also marked the inauguration of the Opus theater, at Shopping Villa-Lobos, in São Paulo. The tour contains three new tracks: Me Estuprem, about sexual harassment and rape; Twelve Yellow Flowers; and The Party. At the time, it was reported that none of them would appear on the group's next album. However, on September 23, 2017, the band played the three again during their performance at the Rock in Rio festival, and this time said that they would all be part of the project. In December 2017, they announced that they had started recording the album and that it would be released on Universal Music. On January 31, they announced that the rock opera would be released in early 2018 and that its title would be Twelve Yellow Flowers.

In May 2018, Branco Mello was diagnosed with a laryngeal tumor, which left him absent from the band for three months. During the period he was away, he was replaced by Lee Marcucci, who worked as a musician hired by the band between 2002 and 2009.

Titãs Trio Acústico and return to BMG

Starting in 2019, they performed a series of acoustic shows to celebrate 20 years of Acoustic MTV, which could not be celebrated in 2017 due to the preparation for Twelve Yellow Flowers. The tour was called "Trio Acústico" and was combined with the promotion of Doze Flores Amarelas and the tour "Enquanto Hár Sol", the latter in electric format and mixing songs from various periods of the group.

In 2020, the group announced that it had registered the project in the studio and the result would be divided into three EPs, which were named Titãs Trio Acústico. A remake of the track "Sonífera Ilha" was released as a single and a music video on the 20th of that month, when it was also announced that the three EPs would come out from April on BMG, the label to which they returned in late 2019.

In October 2020, the remaining members participated in a re-recording of "Comida" (from Jesus Não Tem Dentes no País dos Banguelas) released by singer Elza Soares. The version was originally planned for the album she released in 2019, Planeta Fome, but she ended up choosing to use the song at another time, and decided to release it on the one-year anniversary of the album, and also to mark the nomination for the even the Latin Grammy.

Members

current formation

Branco Mello - vocal (1982-currently), electric bass (2002-currently), acoustic guitar in acoustic shows (2016-currently)

Sérgio Britto - vocal and keyboard (1982-currently), bass on tracks sung by Branco (2009-currently)

Tony Bellotto - guitar and acoustic guitar (1982-currently), vocal (2016-currently)

Tokyo was a Brazilian band that emerged in 1984, with a punk rock style and that revealed the punk singer Supla and the MPB producer BiD (at the time Bidi, guitarist). They were successful with the songs "Humans" and "Girl from Berlin"

Story

At first, the band had the names Zig Zag and Metropolis, later moving to Tokyo. The band's first release was a simple single with the song "Mão Direita", which was released by the Som Livre label and ended up being censored due to its lyrics that dealt with masturbation.

They then moved to Epic Records, where they released the song "Humans", which was the band's first radio hit. In the same year they released Humans, the band's debut album. At the time, the press labeled the band the "boutique punks". The next single was "Girl from Berlin", a track composed by the painter Rodrigo Andrade in 1982. "Girl from Berlin" had the participation of the German rocker Nina Hagen, and was successful in 1986. In this same album, Cauby Peixoto participates in a track called "Romantic". After the release of the first album, Bid left the band and was replaced by Conde Novaes.

In 1987 they released the album O Outros Lado, which was not successful. However, the song "Metralhar e Não Morrer" came to play on some radio stations. The band ended its activities two years later.

Members

Supla (vocals and occasionally base guitar)

Andrés Etchenique (bass and backing vocals)

Eduardo Bidlovski "Bidi" (solo guitar and backing vocals)

Count (guitar)

Marcelo Zarvos (keyboard)

Rocco Bidlovski (drums, percussion and backing vocals)

Ultraje a Rigor is a Brazilian rock band, created in the early 1980s in São Paulo. Conceived by Roger Moreira (vocals and base guitar), it was successful in 1983 in Brazil, due to the songs "Inútil" and "Mim Quer Tocar". In 1985 the band became nationally known for the album Nós Vamos Invadir sua Praia, which brought the first gold and platinum record for national rock.

His initial formation was Roger, Leonardo Galasso (drums, better known as Leôspa), Sílvio (bass) and Edgard Scandurra (solo guitar). Today, only Roger, the band's creator, continues from the original formation.

Between 2011 and 2013, the band became the House band for the Brazilian talk show Agora É Tarde, on Rede Bandeirantes, hosted by Danilo Gentili. After the hiring of Danilo Gentilli by SBT, the band joins the cast of The Noite with Danilo Gentili

Story

Beginning: 1980 - 1988

The group Ultraje a Rigor started as a band of covers, mainly Beatles, punk rock and new wave. The first formation, composed by Roger, Leôspa, Sílvio and Edgard Scandurra, started with small shows in bars. In 1982, they decided that the band's name would be Ultraje a Rigor, a pun on the expression "strict costume". Roger had initially thought of naming the band only as "Ultraje", but Edgard, when asked about the name, misheard and asked: "Huh? What's it like? What costume, the formal costume?". The pun was successful and the name Ultraje a Rigor was adopted.

Soon, Silvio left the band and was replaced by Maurício Defendi. In April 1983, the new lineup participates in the band's first show with only their own compositions. After a few shows, the band signed a recording contract with producer Pena Schmidt, who was part of WEA and also worked with artists such as Ira! (of which Edgard was a part) and the Titans. Ultraje then recorded their first single, Inutil/Mim Quer Tocar, which, due to censorship problems, was not released until October of that year.

Edgard, already a member of Ira!, found himself unable to continue dividing his time between two bands and opted for the second. Carlo Bartolini, known as Carlinhos, was called to take his place. In 1984, with the new line-up, Ultraje recorded their second single, Eu Me Amo/Rebelde Sem Causa. The first song was relatively successful, encouraged by the coincidence of its chorus with that of Egotrip, by Blitz. The second song, however, was decisive for the band's success since it began to be performed, in January 1985.

The band's first LP, Nós Vamos Invadir Sua Praia, released a few months later, was a great success. It was the first rock LP in Brazil to be certified Gold and Platinum. Most of the songs had great success, and the band broke audience records in different places across the country, such as Canecão, in Rio de Janeiro.

At the beginning of 1986, Ultraje recorded an LP called Liberdade Para Marylou, with a remixed version of Nós Vamos Invadir Sua Praia, the unpublished song Hino dos Cafajestes and a version of Marylou in a carnival rhythm, which was played a lot at Carnival balls of the time. In 1987, during the recording of the new LP, Sex!!, Carlinhos (with the possibility of moving to Los Angeles to form his own band) left the band and Sérgio Serra replaced him. The second album was as successful as the first, with the song Eu Gosto de Mulher reaching a maximum of 96 on the Hot 100 Brasil.

Maturity and changes: 1989 - 1998

In 1989, more mature and a little tired from constant touring, the members recorded their third album, Crescendo. The album sold well, but the media began to lose interest in Ultraje after four years of success. Even so, the group still provoked controversy, by provoking the announcement of the end of official censorship, with the song Filha da Puta. The song was unofficially censored on many radio stations and TV shows, which made it difficult to promote the album. Other spicy songs with themes such as "O Chiclete" and "Volta Comigo", a song about adultery, had their performances compromised. In the same year, the group made a special appearance on the 1989 album by the group Trem da Alegria, in the song Jandira, which was the third working song on the disc. In 1990, Ultraje returned to its roots by releasing "Por Quê Ultraje a Rigor?", an album of covers that were part of their early career repertoire, as well as Mauro Bundinha, an unreleased song from the same phase. Mauricio, after marrying an American, moved to Miami. His vacancy was provisionally filled by Andria Busic, bassist for Dr. Sin, who handed over his place a month later to Osvaldo Fagnani. After almost another year of touring, Roger realizes that Ultraje a Rigor was no longer the same band. Leôspa, after getting married, could no longer maintain his enthusiasm for traveling and rehearsing; Sergio aspired to leave to form his own band, and Osvaldo preferred to work in his professional studio. After a conversation with Leôspa, Roger decided to look for new members to try to continue Ultraje.

Searching in bars and through shows of beginning bands, he found Flávio Suete, drummer who played covers by Frank Zappa. Flávio recommended Serginho Petroni, bassist who also played covers. Together, auditions for new guitarists began. After months of testing, they discovered Heraldo Paarmann through an advertisement on Rádio Brasil 2000 FM. They continued rehearsing and played a few shows to reinforce their respective sounds. In 1992, against the band's wishes, WEA released a compilation called "The Enchanted World of Ultraje a Rigor" (the word "Enchanted" was an irony of Roger's regarding the charm of the early years and the difficulties with the label in regarding new projects). Although essentially a compilation of previously released material, the album contained two new tracks from the new lineup (Vamos Virar Japonês, with hillbilly duo Tonico and Tinoco; and a version of Rock das 'Aranha', by Raul Seixas) along with hit reissues released previously. In 1992, still in rebellion against the indifference of their record company, the group independently recorded Ah, Se Eu Fosse Homem, a tour on the difficulties faced by men with regard to the new post-feminism. The tape of this song, distributed to radio stations by the band, produced the expected results.

In 1993, in the midst of an already tense situation with the record company, they released Ó!, their sixth LP - the fourth made up only of new material. The album was recorded in a hurry (two months in the studio) and with a small budget, a condition that was imposed by the WEA, which, even so, practically ignored the album, causing the contract to be terminated in 1994. The video for "Acontece Toda Vez" Que Eu Fico (Apaixonado)" was successful on MTV, but the song was only a modest success in the media and in stores. In 1995, a new collection of hits, this time unbeknownst to the band, was released, part of a series called "Pop Generation". In 1996, the company launched yet another surprise collection, a record called O Melhor do Ultraje a Rigor/2 É Demais! - fusion of the first two albums without the bonus tracks. Still without notifying the band, Warner releases two more releases: in 1997, Pop Brasil, (actually, a reissue of Geração Pop with fewer songs), and, in 1998, Ultraje a Rigor Vol. 2/2 É Demais!, another two-album fusion compilation, without the band's bonus tracks - the third and fourth albums.

Restart: 1999 - 2007

In early 1999, after Serginho left the band and was replaced by Rinaldo Amaral (known as Mingau), Ultraje released 18 Anos sem Tirar!, a live album recorded in 1996, independently, which won four new tracks in studio. Now, having changed from WEA to Deckdisc/Abril Music and having as flagship the track "Nada a Declarar", they reach the Gold Record. In January 2001, Ultraje a Rigor participated in the third edition of Rock in Rio, in a joint presentation with Ira! and entitled Should I Stay Or Should I Go?, cover of The Clash.

In 2002, another lineup change: Flávio and Heraldo distanced themselves from the musical intentions of the rest of the band and decided to leave it. They were replaced by Marco Aurélio Mendes, Bacalhau, former drummer of Rumbora, and Sérgio Serra, former guitarist of Ultraje, who returned from Los Angeles to rejoin the group and participate in the recording of Os Invisíveis.

In 2005, the band recorded and released, on CD and DVD, their Acústico MTV. The album includes great hits such as "Inutil", "Mim Quer Tocar", "Independente Futebol Clube" and "Eu Gosto de Mulher" and new tracks such as "Each Um Por Si". Highlights also for Eu Não Sei, version of Can't Explain, by The Who, made by Roger at Ira's request!; Jealousy, recorded in a version originally planned for the album Nós Vamos Invadir Sua Praia, with a calm part; and We'll Invade Your Beach, with strings and metal.

Independent phase: 2008 - 2010

In late 2008, Roger confirmed his departure from the Deckdisc label to work on an independent downloadable album. The project was called Esquisita Música a Troca de Nada!, and you don't have to pay to have the songs on your computer. In early 2009, after recording some demos, Sérgio Serra left the band again. Released on April 5, 2009, the EP was recorded with guest appearances by Edgard Scandurra on guitars, singer Klébi Nori on the song Amor and was made available on the website ReverbNation and on the band's My Space.

After a few months as a power-trio, accompanied by the support band, through a Facebook account, Roger announces the entry of guitarist Marcos Kleine. With this formation, the band continues to perform shows in the vicinity of the southeast region of Brazil, due to Roger's fear of flying, which leads the band to get schedule at shows that are possible to travel by bus.

2010 - currently

In 2010, the release of the biography Nós Vamos Invadir Sua Praia was announced, which shows the band's history. The book, written by young journalist Andréa Ascenção, author of literary agent Andrey do Amaral, is filled with stories, photos, song lyrics, testimonials and trivia. The biography was published in April 2011 by Editora Belas Letras. At the time, Roger intended to record a live CD and DVD, celebrating 30 years of his career.

In June 2011, the band joined the cast of the talk show Agora É Tarde, as a regular band. With that, the band once again had a greater prominence in the mainstream media, performing at major festivals such as SWU, where they had problems with the production of British singer Peter Gabriel, and at Reveillon at Paulista.

In 2012, the band released an album on Deckdisc in partnership with Raimundos, entitled O Embate do Século: Ultraje a Rigor vs. Raimundos. The idea of the project is that one band re-records the other, and vice versa.

At the end of 2013, the band announced the departure of Rede Bandeirantes and Agora É Tarde, thus joining Danilo Gentili, Léo Lins, Murilo Couto and Juliana Oliveira on the new Brazilian late-night talk show, The Noite no SBT.

In 2015, the band records the instrumental album Por que Ultraje a Rigor?, Vol. 2, which is a continuation of the version album, released by the group in 1990. The record, recorded live in the studio, has 20 re-recordings and has the EF distribution, label owned by Sony Music. The project was launched in August. In the same year, they performed on the Sunset Stage of the sixth edition of Rock in Rio, alongside Erasmo Carlos.[11] In 2016, they opened the Rolling Stones show at Maracanã Stadium for the Latin America Olé Tour 2016 tour.

Documentary

On January 31, 2019, the documentary Ultraje premiered. Directed by Marc Dourdin, the documentary was released in commemoration of the band's 35 years, with the participation of all the members who went through it at that time. According to information from Vice Brasil, the documentary was a box office failure, having premiered in 20 movie theaters and taking 101 people to the sessions, being the lowest box office among national films.

Members

current formation

Roger Moreira - Voice and Guitar (1981-today)

Porridge - Bass and Vocals (1999-today)

Cod - Drums and Vocals (2002-today)

Marcos Kleine - Guitar and Vocals (2009-today)

Uns e Outros is an alternative rock band formed in 1983 in Rio de Janeiro.[1] She became nationally known for her singles "Letter to Missionaries" and "Red Days", both from 1989, from her second album (rereleased in 2009 by SONY/BMG).

After a while away from the mainstream, the band went through changes, and released the album Canções de Amor e Morte, which gained critical acclaim, mainly for the singles "Um Dia De Cada Vez" and "Depois do Temporal". The album has a remake of "Dia Branco", a classic of Brazilian music, by Geraldo Azevedo.

In 2014 they released their first live CD (originally a DVD), recorded in Rio de Janeiro, on November 19, 2010; which was released "Perdendo Vida", with the participation of Bruno Gouveia, from Biquini Cavadão.

current members

Marcelo Hayena - Vocals (1983 - currently)

Nilo Nunes - Guitar (1983 - currently)

Ronaldo Pereira - Battery (1988-1993, 2014 - 2018)

Gueu Torres - Baixo (2007 - currently)

Bruno Baiano - Drums (2018 - currently)

Violeta de Autumn is a Brazilian rock band formed in São Paulo. Heavily influenced by the Beatles, Rolling Stones, Pink Floyd, Led Zeppelin and Gong, they were originally a post-punk band with some psychedelic elements embedded in them, but would gradually abandon their post-punk influences and add more progressive elements to their sound with passing time.

The band has gone through numerous line-up changes since its founding; the only remaining founding member is vocalist/guitarist Fabio Golfetti.

Story

Fabio Golfetti founded Violeta de Autumn in 1985 with Cláudio Souza; both had recently left the pioneering band New Romantic Zero. Angelo Pastorello would later join them, and with this formation they released a demo tape, Memories, in the same year. The tape caught the attention of independent label Wop-Bop Records, which released its first EP, Reflexos da Noite, in 1986.

In 1987, Violeta de Autumn's first eponymous album came out on RCA Records. It was very well received; praise in particular went to his cover of the Beatles song "Tomorrow Never Knows".

In 1988 they released a four-track EP titled The Early Years, featuring covers of "Citadel" by the Rolling Stones, "Interstellar Overdrive" by Pink Floyd, "Within You Without You" by the Beatles, and "Blues for Findlay". of Gong. These recordings had originally been made between 1984 and 1986. The following year, their second studio album, Em Toda Parte, was released by Ariola Records. Starting with this album, Violeta de Autumn abandoned their previous post-punk sound and moved towards a more experimental direction, influenced by progressive rock.

In 1990, Cláudio Souza left the band, and was replaced by Cláudio Fontes (Souza would return to the band in 1993 however). From 1993 to 1995 Violeta de Outono entered a short period of hiatus; they returned to activity with a live album, Eclipse, and their third studio album, Mulher na Montanha, which began recording in 1995 but would not be completed until 1999. In 2000, they would release their second live album, Live at Rio ArtRock Festival '97, a recording of his performance at the Rio ArtRock Festival in Rio de Janeiro in 1997. During Violeta de Autumn's hiatus, Golfetti released three albums with the Invisible Opera Company of Tibet (Tropical Version Brazil), a side project to Violeta de Autumn who formed in 1988, however, the project was not as successful and memorable as Violeta de Autumn itself and came to an end in 1995, resurrecting in 2010.

Also in 2000, Violeta de Autumn changed its lineup almost completely, with Gregor Izidro replacing Cláudio Souza and Sandro Garcia replacing Pastorello. However, both would return to recording the band's fourth studio album in 2003, Ilhas, which was released in 2005.

Violeta de Autumn & Orchestra, her first video, came out in 2006, recorded during a performance in São Paulo two years earlier, with the special participation of the USP Symphonic Orchestra. In the same year, Pastorello left the band and was replaced by Gabriel Costa, while newcomer Fernando Cardoso assumed the position of keyboard player. With this line-up they released their fifth studio album (and seventh studio recording as a whole), Volume 7, in 2007.

In 2009, Cláudio Souza left Violeta de Autumn for the third time, but before that they recorded another video, Seventh Brings Return, in which they performed live covers by Pink Floyd and Syd Barrett, and also played their first full album in a concert at the Sao Paulo's city theater. Fred Barley replaced Souza — however, Barley left the band in 2011 to join Terço, and was replaced by ex-A Chave do Sol José Luiz Dinola; since then, the Autumn Violet's formation remains unchanged.

The band's sixth album, Espectro, was released in 2012.

On September 19, 2016 the band announced that they had started work on their seventh studio album, Spaces, eventually released on October 14, 2016. In the same year, Rolling Stone Brasil magazine voted it the 25th best Brazilian album of 2016.

Members

current formation

Fabio Golfetti — Vocals, guitar (1985–)

Gabriel Costa — Bass (2006–)

José Luiz Dinola — drums (2011–)

Fernando Cardoso — keyboard (2006–)

Zero (styled ZERØ) is a Brazilian rock band formed in 1983 in São Paulo and based in Rio de Janeiro since 1998, considered the greatest precursor of the New Romantic movement in Brazil.

Story

First Formation and "Heroes" (1983–1985)

Zero emerged from the ashes of Ultimato (formerly known as Lux), an instrumental jazz/no wave punk band formed in São Paulo in 1978 (and renamed Ultimato in 1981) by Fabio Golfetti, Alberto "Beto" Birger, Cláudio Souza, Gilles Eduar and Nelson Coelho. Future vocalist Guilherme Isnard, who had recently left his previous band, Voluntários da Pátria, was introduced to Ultimato by his friend Luiz Antônio Ribas, owner of the defunct independent label Underground Discos e Artes; Isnard then decided to join the band, and talked to its members about adding lyrics to their songs. Their musical style eventually changed to "art rock with a post-punk feel", in the words of Isnar, and in 1983 they reorganized themselves as Zero. Their first release was the single "Heroes", which came out on CBS Records in 1985.

Formation Changes, Steps in the Dark and Human Flesh (1985–1987)

In 1985, the band participated in May East's first album, Remota Batucada, on the track "Caim e Abel" — but it also underwent a major restructuring in the same year, with all its members except Isnard leaving. Many of its former members would start their own projects: Fabio Golfetti and Cláudio Souza formed the influential psychedelic rock band Violeta de Autumn, Beto Birger composed Nau with Vange Leonel, Gilles Eduar joined Grupo Luni and Nelson Coelho created Dialeto.

Isnard was then joined by the band's "classic" formation: Alfred "Freddy" Haiat (ex-Degradée and brother of Metrô guitarist Alec Haiat) on keyboard, Ricardo "Rick" Villas-Boas on bass, Eduardo Amarante ( ex-Agentss and Azul 29) on guitar and Athos Costa on drums. His first major studio release was the extended play Passos no Escuro, by EMI; was a bestseller, earning a Gold Disc by the ABPD. The EP generated the hits "Formosa" and "Agora Eu Sei", the latter featuring a special guest appearance by RPM vocalist Paulo Ricardo providing additional vocals.

In 1987, Athos Costa left the band and was replaced by fellow ex-Blue 29 Malcolm Oakley. The band then began work on their first studio album, Carne Humana, which spawned the also popular singles "Quimeras" and "A Luta eo Prazer". In the same year, they opened concerts for Tina Turner's Break Every Rule tour in São Paulo and Rio de Janeiro.

Separation (1989)

Citing his lack of interest in continuing with the band, Guilherme Isnard announced that Zero was coming to an end in 1989.[7] He then went on to work on other projects, including the cover band of Roxy Music and Bryan Ferry Roxy Nights, and sang Jazz and Samba Canção standards such as Guillaume Isnard and the Psicofônicos. After a performance with the singer Miltinho in 1992, he returned to live in Rio de Janeiro and stopped singing until 1997, when he decided to resume his career.

Rick Villas-Boas moved temporarily to the Netherlands before returning to Brazil; Eduardo Amarante moved to Salvador; Malcolm Oakley became a publicist; and Freddy Haiat runs his musical instrument manufacturing and import business with his brother Alec.

Meeting (1998–)

Isnard joined Zero's classic lineup for a concert celebrating the band's 15th anniversary in 1998; it would only be for one day, but the response from the fans was so positive that they eventually announced a definitive reunion. His first release after the hiatus (but with a slightly different lineup — Sergio Naciffe joined as drummer, Jorge Pescara on bass and chapman stick, and JP Mendonça as an additional keyboard player) was the compilation Electro Acústico, which came out in 2000 on Sony and contained re-records acoustics of some of the band's old songs, plus three unreleased tracks. It had the special participation of Andrea Dutra from Arranco de Warsaw, Philippe Seabra from Plebe Rude and Bruno Gouveia from Bikini Cavadão.

In 2003, to celebrate the band's 20th anniversary, EMI released Complete Work, a combination of Passos no Escuro and Carne Humana on just one CD.

In 2004, Voiceprint Records released Dias Melhores, a compilation of previously unreleased demos and other old material recorded by the band between 1984 and 1985.

In 2004, Zero underwent another change in its line-up, with the entry of Yan França on guitar, Eliza Schinner on bass and Fabiano Matos on drums, replaced by Vitor Vidaut in 2007; on August 30 of the same year, they released at their own expense their first new album since 1987, Quinto Elemento, with Jorge Pescara taking over the bass. Preliminary demos of each of the songs were made available for listening on the band's official Myspace profile.

More meetings of the band's classic lineup would take place in 2012, when they played live their first two releases in full, and in 2013, for shows celebrating Zero's 30th anniversary; at the time, Isnard announced that a DVD of his performance at such shows would be released, but so far the plan has not materialized.

In 2017 Guilherme debuted a new formation of Zero in Nova Friburgo with Nivaldo Ramos on bass, Daniel Viana on guitar, Gustavo Wermelinger on drums and Caius Marins on keyboards. In 2018, they recorded live the EP Audioarena Originals - Guilherme Isnard and Zero in the special broadcast on Canal BIS and Multishow. The band returned to the big stages such as Circo Voador, but disbanded on the eve of the show celebrating its 35th anniversary with the participation of Kiko Zambianchi and Paulo Ricardo, for the logistical convenience of organizing a band with musicians from São Paulo.

From 2020, Zero counts on Fabiano Matos on drums, Elisio Neto on guitar, Rigel Romeu on keyboards and Nivaldo Ramos who remained on bass. In October 2020, they releasedQuando Esse Mal Passar, the first single from their next album, composed by Elísio and Isnard during confinement in the COVID-19 pandemic.

Formation

current members

Guilherme Isnard — vocals (1983–)

Fabiano Matos — battery (2004–2005, 2020–)

Rigel Romeo — keyboard (2020–)

Elísio Neto — guitar (2020–)

Nivaldo Ramos — bass (2017-)

Kid Abelha (also known as Kid Abelha ea os Abóboras Selvagens between 1982 and 1988) was a Brazilian rock band that had been successful in the country since the 1980s. It was composed by Paula Toller, George Israel and Bruno Fortunato. They have already sold 9 million copies of records in Brazil alone.

Story

The 80s

In 1981, Paula Toller met Leoni at college. Both were studying at PUC-Rio and started dating. With that, Paula started to visit the rehearsals of the band "Chrisma", formed by Leoni (vocals and electric bass), Carlos Beni (drums) and Pedro Farah (guitar). The boys always invited Paula to join the band, however, she always refused, claiming to be shy. Her visits to rehearsals motivated her to sing. George Israel, in turn, was seen playing saxophone in Búzios, Rio de Janeiro, and invited by a friend of Leoni's to meet the band that Leoni was leading.

George accepted the invitation and joined the band, shortly afterwards known as Kid Abelha ea os Abóboras Selvagens, name chosen during a live broadcast on Rádio Fluminense FM. The first demo performed by the extinct radio was Distraction. Success was immediate; the band started to perform at Circo Voador and, as a result, participated in the LP Rock Voador, with two tracks: Distratação and Vida de Cão é Chato pra Cachorro. Pedro Farah was the first member to leave the band, right at the beginning of their success, to live in the United States. With that, Bruno Fortunato took over the Kid's guitar definitively. Beni, who would later be the producer of the Rio band Biquini Cavadão, was the second member to leave Kid, being replaced by hired drummers.

intimate painting

After entering two songs on the LP "Rock Voador", a collection of new bands released by Warner, the band was hired by the label and recorded their first single, Pintura intimate, which had the song Por Que Não Eu? on the B side. "Making love at dawn..." was Kid Abelha's first chorus to stay in the minds of Brazilians, and the first gold record. In 1984, the band's biggest hit came with the release of their second single, Como Eu Quero, which led to their second gold record. Side B was a Man with a Mission.

Your Spy, Rock in Rio and Sentimental Education

Kid Abelha ea os Abóboras Selvagens' first album was also released in 1984, Seu Espião. An LP that carries with it great hits that hit the radio: Fixação, Nada So So, Alice (Don't Write Me That Love Letter), and the previously released Intimate Painting, Por que não Eu? and "As I Want". The album got the third gold record of the career. In January 1985, the band played at the biggest rock event in the world at the time, Rock in Rio. On Tuesday, the 15th, they played to 50 thousand people and on Friday, the 18th, to 250 thousand people. The 7 biggest hits of the album Seu Espião were played live. Educação Sentimental, the band's second LP, was released in 1985, featuring Lágrimas e Chuva, Educação Sentimental I and II and Garotos. Formula do Amor, a partnership between the band and singer Leo Jaime, was recorded in a slow version. The success added another gold record. The band's new drummer, Claudinho Infante, is hired for this work.

Leoni's departure and the 'Ao Vivo'

At a Leo Jaime concert in Rio de Janeiro, the singer called the band to sing the hit A Formula do Amor. However, he forgot to call Leoni. Due to this, there were disagreements between Leoni and Paula Toller and their respective boyfriends, Fabiana Kherlakian (heiress of the brand Zoomp) and Herbert Vianna (leader of the band Os Paralamas do Sucesso). The disagreements culminated in the departure of Leoni, who, in addition to bassist, was the main composer. It seemed to be the end of Abóboras, however, the band promoted the project of a double LP and live VHS, entitled "Kid Abelha Ao Vivo" and recorded at Parque Anhembi to an audience of 20 thousand people, containing the biggest hits so far and also the unreleased Nada Por Mim, a partnership between Paula Toller and Herbert Vianna, previously recorded by singer Marina Lima. Due to technical problems with the images, the project was reduced to a single LP, with nine songs. The Aboboras were joined by Cláudia Niemeyer (electric bass), Marcelo Lima (keyboards), Don Harris (trumpet) and Julio Gamarra (percussion). Ao Vivo was another gold record.

Tomato

In 1987, Paula is named the newest sex symbol in Brazil and the group promotes its greatest daring with the album Tomate. The video for the title song (inspired by Murilo Mendes' poem, O Tomate (from Art Crítica)) received many awards, in addition to the hits No Meio da Rua, Me Leave Falar and Amanhã é 23 (included in the soundtrack of the soap opera O Another, from Rede Globo) all from the first crop of songs from the partnership Paula Toller and George Israel. With the presence of bassist and producer Nilo Romero, the album was mixed in London and dedicated to all those who work at night.

In 1988, Claudinho left the band, reducing it to the current formation of Paula, George and Bruno. Even so, he still participates in the album Kid, a year later. Now I Know, All My Gold, Saying No Is Saying Yes and Whose Power is the best known. In addition to the theme of the soap opera Dizer Não é Dizer Sim, the song Sex and Dollars was the theme of the national film that told the story of Lili Carabina, Lili, the Crime Star. In the acknowledgments, well-known names, such as Cazuza (who wrote the press release for the album), Frejat and Herbert Vianna. Due to Paula Toller's pregnancy, the shows were reduced and the band decided to stop for a few months.

90's

The beginning of the 1990s is blessed with the album "Greatest Hits 80's", which in addition to nine hits on LP and ten on CD, reveals "No Seu Lugar". The songs were digitally remastered and "Como Eu Quero" and "Fixação" received a new vocal, with Toller's voice more in tune than ever. It earned the band's first platinum record. "Everything is Permitted" brought, in 1991, a strong eroticism in lyrics such as "I Like Being Cruel", "Lolita" and "Electricity" (George Israel's debut on vocals). It also brought the hit "Grand' Hotel", the remakes of "Escape Number 2", from Os Mutantes; and "No Vou Ficar", a song by Tim Maia that was a hit with Roberto Carlos. "Indecency", in turn, is inspired by the poem by DH Lawrence, "Indecency Can Be Healthy".

"No Seu Lugar" is also included on the album, which marks the debut of Kadu Menezes on drums. The album also marked the reduction of the band's name, which lost the "Abóboras Selvagens", and was renamed "Kid Abelha". "O Sexo que Fazemos" was the main theme of the album "IêIêIê", from 1993, due to the fact that this verse starts with three letters of the album, "Por Uma Noite Entire", "Thousand and One Nights" and "Um Segundo a Mais" . "Eu Tive um Sonho" (theme of the miniseries Sex Appeal), "Deus (Appear on Television)", "Em 92" and "O Beijo" stood out. Also present in the work is the band's first recording in English, the re-recording of "Smoke On The Water", by Deep Purple.

Acoustic Tinnitus

Between March and July 1994, George Israel and Kadu Menezes recorded the album "Meio Shutdown" in concerts in Belo Horizonte, Curitiba, Criciúma, Concórdia, Venâncio Aires and Sta. Bárbara. (Tim Maia) and Canary of the Kingdom. The working song was "Solidão Que Nada", a partnership between George Israel, Nilo Romero and Cazuza. After 18 shows at Jazzmania, which was even a TV special, the tour travels all over Brazil. Mauricio Gaetani (piano and accordion), Odeid (bass), Serginho Trombone (trumpet), Lui Coimbra (cello) and, as guests, Sergio Dias (in God), Ritchie (Como Eu Quero) and Lulu Santos (Canário) participated in the album of Kingdom). As an award for over 500,000 copies, this is one of the double platinum discs in the bees collection.

My world revolves around you

In 1996, Hyldon's song “Na Rua, na Chuva, na Fazenda” released the album Meu Mundo Gira em Torno de Você.” In the video “Te Amo pra Semper”, top on MTV, Paula appears wearing a simple polka-dot bikini. They can also be found on the album Como É Que Eu Vou Although, “Combinação” and “A Moto.” Participation in instruments, by Rodrigo Santos (of the band Barão Vermelho) on bass and the debut of current trumpeter Jefferson Victor, on the track “Vou Mergulhar.” “My World…” is the band's best-selling studio album, having 3 different versions, including a platinum, double-CD version.

Spanish and Remix

The following year, 1997, the band took even greater flights, taking their work abroad, on the CD Kid Abelha, released in the USA, Spain and Latin countries. The album features his greatest hits in Spanish, such as "¿Por Qué Me Quedo Tan Sola?", "Como Yo Quiero", "Te Amo Por Siempre", "Dios", "Todo Mi Oro", "En medio de la calle ", "Grand Hotel" and others, with the participation of Alejandro Sanz in "Nada por mí". The band almost had its name shortened to "Kid", due to the difficult pronunciation of the name "Abelha" in Spanish. Due to the band's success in clubs and clubs, in the same year, "Remix" hits Brazilian stores, with hits remixed by renowned DJs. Platinum double, with 500 thousand copies sold in two months.

And the world is not over

With a skirt above the knee, in front of a plane, "Paula Toller" is the singer's first solo CD. With six great MPB songs, two in English and two unreleased, two that became themes for soap operas and one that became the theme of a commercial for Garoto. Paula did not tour the album, only promoting it in some TV shows, such as Domingão do Faustão and Romance MTV. We can highlight "Derretendo Satellites", "Oito Anos" (re-recorded by Adriana Calcanhoto), "E o Mundo Não Se Acabou", "Patience" (Guns N' Roses cover), "Cantar" and "1800 Colinas".

Closing with Gold Record

"Autolove", the name the trio defines as "the love that moves alone, whose fuel is us" comes in 1998, with another gold record. Considered one of the band's best and most mature albums, it was named "Eu Só Pensa em Você", "Maio…", "Minas - São Paulo", "Tanta Gente" and the tribute to Renato Russo in "Três Taças". There is also the song "Ouvir Estrelas", adapted from the homonymous poem by Olavo Bilac.

2000's

2000 marked the release of the album "Collection". Rocked by the hit "Pare o Marriage" by singer Wanderléa, the album comes with several hits by other artists, such as "O Telephone Tocou Again" and "Mas, Que Nada" (both by Jorge Ben), "Pingos de Amor" (Paulo Diniz and Odibar), "Teletema" (Antonio Adolfo and Tibério Gaspar), "Mamã Natureza" (Rita Lee), "As Curvas da Estrada de Santos (Roberto and Erasmo Carlos), in addition to the unpublished "Deve Ser Amor", "Eu Sei Voar" (originally recorded for the album Autolove) and "Um Momento Só" (originally recorded for the album IêIêIê). The album ends the contract with the Warner record label and the entry of keyboardist Humberto Barros, in addition to the presence of Dunga (bass). ), Rodrigo Santos (bass) and Cris Braun (vocals and compositions).

Once again Kid Abelha participates in the Rock in Rio event. The third edition took place in January 2001, where the band's presentation took place on the 20th, the same date as Engenheiros do Hawaii, Elba Ramalho, Zé Ramalho and international attractions. They played hits like "Fixação", "Intimate Painting", "Tears and Rain", "Alice", "In the Middle of the Street", "Tomorrow is 23", "Stop the Marriage", "Te I Love Forever", "Como É That I'm Going Away", "Eu Tive Um Sonho", "Sorry o Auê" (by Rita Lee), among others. Surf, was the first album released by Universal Music, in 2001. The three singles, "Eu Contra a Noite", "Eu Não Esqueço Nada" and "O Rei do Salão" feature the album, which also contains, among others, " 3 Girls on the Sidewalk", "Gávea Posto 6" and "Pelas Ruas da Cidade", which talk about the life and scenery of the Cariocas and Brazilians. Drums and electronic percussion accompany the songs.

The greatest success

The Kid's 20th anniversary was celebrated in style in 2002: the band was invited to participate in the MTV Acústico project. The album comprises 20 years of success in an acoustic version: "Como Eu Quero", "Lágrimas e Chuva", "Fixação", "Eu Contra a Noite", "Os Outros", "No Seu Lugar" etc. It has three new releases: "Nada Sei", "Gilmarley Song" (homage to Gilberto Gil, who had released an album with songs by Bob Marley) and "Meu Vício Agora", in addition to the re-recordings of "Brasil" (partnership between George Israel, Nilo Romero and Cazuza), "Mudança de Comportamento" (Ira!), with the participation of guitarist and vocalist Edgard Scandurra, and "Quero Te Encontro" (by the funk duo Claudinho and Buchecha, in a tribute to Claudinho, who died in June of the same year ). The album received several awards of great importance on the national scene and was nominated for a Latin Gramy in 2003; their singles remained for a long time in the "Top 10" and their sales surpassed the mark of 1,250,000 copies sold. in Brazil The following year the album was seventh. The tour, which lasted three years, allowed concerts throughout Brazil and in some US cities. The DVD, the band's first audiovisual work, was awarded the double diamond DVD, a rare brand in video works.

4 Letters from Israel

Before releasing a new album with the Kid, George, in 2004, records his first solo CD, "4 Letras", the title of a song of his with partner Cazuza. Unpublished songs, some with Israel as lyricist, as well as partnerships with Alvin L, Arnaldo Antunes and participation by Paralamas, Lulu Santos and Sergio Dias are in this work produced by Ramiro Musoto. The song "Girassóis Azuis" (by George Israel/Dulce Quental) was even the theme of the soap opera América, on the Globo network. Shows at Teatro Ipanema in Rio de Janeiro marked the launch in 2005.

catch life

Pega Vida was released in mid-April 2005. The album featured eleven new tracks, written by George Israel and Paula Toller, and a re-recording, "Será Que Pus um Grilo na Sua Cabeça?". Right away, the first single, "Poligamia", was positioned among the ten most played in the country, reaching the 3rd place in the charts. "Peito Aberto", the second single, in addition to reaching the first place in the original version, was at the top with the acoustic and remix versions. "Eu Tou Tentando" and "Why I Don't Give Up on You" were the last working songs, which also had great success. It was publicized on several TV programs: Altas Horas (three times), Domingão do Faustão, Pulso MTV (twice), Fanático MTV (twice), Uncensored (TV Cultura), Programa do Jô, Programa Hebe (SBT), Oi Noites Cariocas Special (MTV) and Pega Vida Special (Multishow). Pega Vida was also released on DVD, being the first work of Brazilian artists in video entirely with new songs, which yielded a golden DVD.

the Britos

In 2006, with Gutto Goffi, Nani Dias and Rodrigo Santos, George Israel released the first CD and DVD of his parallel band, Os Britos, formed in 1994. no-frills rock music and lots of energy.

2007, the year the Kid took a vacation

The band announced their vacation in 2007. Paula Toller releases her second solo CD, Só Nós. The work has fourteen new songs, composed by Caio Márcio and Coringa, Dado Villa-Lobos, Donavon Frankenreiter, Jesse Harris (author of "Don't Know Why", by Norah Jones), Nenung (from the gaucho group Os The Darma Lóvers), Kevin Johansen, Paul Ralphes and Paula Toller. "All over" and "At night dreamed with you" would be the album's promotion songs at once, but due to problems with international labels, the first single was "Meu amor moved to the moon", released on May 22. George Israel he also releases his second solo CD, "Distorções do meu Jardim", with the single "A Noite Perfeita", in partnership with Leoni (after 20 years without composing together) and has João Barone (Paralamas do Sucesso) on drums. album, "Chão de Jardim" in partnership with Marcelo Camelo, "Alguém Como Você", by George Israel for the acoustic MTV by Sandy and Junior, and "As Rosas Não Falam", by Cartola. "Curados ao sol de Copacabana" written por George speaks of the arrival of grandparents in Brazil fleeing the holocaust and features Jorge Mautner

At the end of 2008, Paula Toller released the work Nosso, recorded live on the Só Somos tour, on CD and DVD. The album blends the two previous works, also featuring two hits by Kid Abelha (Grand' Hotel and Nada por me), the re-recordings of Saúde / Só love (Rita Lee / Claudinho and Buchecha) and Mãe courage (Caetano Veloso) and the original Spanish version of At night I dreamed with you, titled Anoche soñé contigo. In 2010 George released the cd "13 partnerships with Cazuza" joining his work with the poet. Among the songs: Brasil, Solitude que nada, Bourgeoisie. It has guest appearances by Elza Soares, D2, Frejat, Sandra de Sá, Ney Matogrosso. In June of the same year, he recorded the cd's concert at Canecão with guests and with the band that accompanied him on the solo tour; Guto Goffi, Odeid, Gê Fonseca and Rene Rossano. Fans ask about the band's return in virtual or personal contacts with members of Kid Abelha, mainly with Paula Toller and George Israel, but the answer is always the same, that they don't know about the Kid's future.

2011, the return

In 2011 the band returns with the tour "Glitter de Principante", celebrating 30 years of career. The band is one of the attractions of the Maceió Music Festival (MMF), one of the biggest music festivals in the Northeast, which brought together more than 45 thousand people. On the occasion, Paula Toller and the companions of Kid Abelha share the night with CPM 22, Pitty, Deslucro, Diogo Nogueira, Oxe! and Fernanda Guimarães.

2012 - Commemorative show in Rio de Janeiro

(Multishow Live: Kid Abelha 30 years old)

On April 28, 2012, the band recorded a special to celebrate the 30 years of career that the bees complete on November 13, the date of the band's first professional show, in a show in the city of Rio de Janeiro broadcast live by the TV channel Multishow, with a birthday cake at the end and the participation of the Escola de Samba Mangueira Drums. The recording of the show generated a commemorative DVD, with records of the tour "Glitter De Principiante", which started in Curitiba in 2011.

2013 - Return to the Summer Festival after 8 years

Paula Toller and her companions from Kid Abelha returned to the Summer Festival, after eight years, and opened the second night of the event, at Parque de Exposições, in Salvador. The band took the stage to satisfy the expectations of fans, old and new, singing the song “No seu Lugar” right away. It was difficult for Paula Toller to end the presentation. The excited public asked for an encore and was accepted. With loose curls and a yellow “gold” dress, Paula Toller, accompanied by George Israel and Bruno Fortunato, celebrates three decades of her career. “This night is super special for us because we are here to thank Bahia and Brazil. There are 15 years of Festival and 30 of Kid Abelha. 2012 was a wonderful year, we just released a live DVD. A lot of good things happened and it's time to celebrate", said the artist just before starting the show. "Nothing like that", "Sentimental education 2" and "On the street, in the rain, on the farm" were played right at the beginning of the show . "All my gold", "In 92", "Garotos", "Saying is not saying yes" and "Tomorrow is 23" were also among the many hits that made up the most recent work of the group. songs like “I only think about you”, “In the middle of the street”, “Grand'Hotel”, “Nothing I know”, “Tears and rain”, “I had a dream”, “Alice”, “Fixing” and “ I love you forever.” Earlier, during the soundcheck, saxophonist George Israel promised a “nice” show full of surprises. “This show is a partnership with the public for all this time and Salvador has always been a city in which the band is very dear”, he said. Paula thanked the fans for their affection. “It's beautiful to see your faces, up close and far away. I keep imagining each one's smile, what each one of us has to do with each one of you. Thanks”, said the vocalist.

After getting back together, Paula Toller, George Israel and Bruno Fortunato announced that the band would take another break so they could devote themselves to their personal projects. Paula even used her Twitter page to talk to fans: “Dear ones, I feel that the complaints, cries and even the cursing about the end of the tour are signs of love. Waves come and go. Lóviu all!” she wrote. Paula Toller announced in April in an interview with Quem magazine that the band had ended activities after the tour.

On April 22, 2016, Kid Abelha announced that it had ended its activities in 2013 on its Facebook page: "The desire to try other ways of creating and the natural weariness of so much time together led us to this decision. a soft-ending, a smooth finish, avoiding sensationalism."

Members

Paula Toller - vocalist

George Israel - saxophone/guitar/guitar/mandolin/transverse flute

Bruno Fortunato - guitar/guitar

Legião Urbana is a Brazilian rock band founded in 1982 in Brasília, Distrito Federal, by Renato Russo and Marcelo Bonfá. The group also featured Dado Villa-Lobos and Renato Rocha in its best-known formation. Faced with the death of Renato Russo on October 11, 1996, the group ended its activities eleven days later. It has a discography of eight studio albums, three compilations and five live albums (one of them without the presence of Renato Russo).

In 2010, Legião Urbana had sold fourteen million copies (including solo albums by Renato Russo), according to information from the record company EMI given to the newspaper O Estado de S. Paulo. In the same year, Veja magazine reported fifteen million copies (taking into account the band's discography and Renato's first two solo albums, The Stonewall Celebration Concert and Equilíbrio Distante); the magazine also stated at the same time that they marketed an average of 250,000 records per year. In 2015, O Estado de S. Paulo stated that the band had sold 25 million copies in its fourteen years of activity. It is the second Brazilian musical group that sold the most catalog records in the world, in addition to being part of the so-called "sacred quartet" of Brazilian rock, together with the musical groups Barão Vermelho, Titãs and Os Paralamas do Sucesso.[4]

Between October 2015 and December 2016, Dado Villa-Lobos and Marcelo Bonfá, the two remaining members of the group, presented together with André Frateschi on lead vocals and several guest musicians on the Legião Urbana XXX Anos tour, which consisted of the celebration of thirty years from her first studio album. Due to good public acceptance, the group decided to resume the project in 2018, this time performing the repertoire of the group's second and third albums, which continues to this day.

Story

Foundation, beginning and background

The band was formed in August 1982, just under a year after the end of the band Aborto Elétrico, triggered by friction between members Renato Russo and Felipe Lemos. The first friction was during a live performance of the song "Veraneio Vascaína" (at the time, Renato got the lyrics wrong and took a blow during the show). The second friction was when Renato Russo presented "Química" in an Aborto rehearsal and Felipe Lemos vehemently criticized the song. The band's demise was at the end of 1981, when Renato Russo peacefully severed his bond with his fellow group members, with the right to a last meeting a few months later motivated by the negligence of Ico Ouro Preto to take over a presentation by the group. With the end of the band, Felipe and his brother Flávio Lemos (bass) founded Capital Inicial, with their formation established together with Dinho Ouro Preto (vocals) and Loro Jones (guitar).

To compose, Renato Russo was inspired by many foreign bands such as Joy Division, The Smiths, The Beatles, The Clash, The Cure, The Ramones, Joni Mitchell, The Gang of Four, Talking Heads, The Sex Pistols, The Jesus and Mary Chain, Public Image Ltd, U2, Bob Dylan and the works of philosophers Bertrand Russell and Jean-Jacques Rousseau (from whom, together with painter Henri Rousseau, came the inspiration for his artistic surname). The name "Urban Legion" derives from the phrase "Urbana Legio Omnia Vincit" (in Latin, "Urban Legion wins everything"). The sentence is a reference to the phrase of the Roman Emperor Julius Caesar, “Roman Legio Omnia Vincit”, translated as “Roman Legionaries conquer all”. The name also came from the original idea of Renato Russo and Marcelo Bonfá in founding the group to alternate guitarists and keyboardists to complete the group. That is, a "legion" of musicians. The first performance of Legião Urbana took place on September 5, 1982 in the city of Patos de Minas, during the Rock no Parque festival, which featured eight other attractions, including the musical group Plebe Rude (a band that is affiliated with and friend of Legião) . This was the only concert in which the band appeared with its first formation: Renato Russo (Voice, Bass), Marcelo Bonfá (Drums), Paulo Paulista (Keyboard) and Eduardo Paraná (Guitar), In fact, Cadoro Promoções — company responsible for the festival's production — he had hired Aborto Elétrico and printed hundreds of posters with the name of the band formed by Renato Russo, Felipe Lemos, Flávio Lemos, Ico Ouro-Preto and, previously, André Pretorius. But as the group had ended its activities, Renato convinced the owner of the production company, Carlos Alberto Xaulim, to perform with the band he had just formed with Marcelo Bonfá. After the presentation, Paulo Paulista and Eduardo Paraná left the Legião. The next guitarist to join the group would be Ico Ouro Preto (brother of Dinho Ouro Preto and former member of Aborto Elétrico), but, due to negligence with the group, he was replaced by Dado Villa-Lobos, who took over the role of guitarist at Legião in March 1983.

View of Brasília, city of the group's emergence.

Brasília was still a cultural island in relation to the rest of the country. Until 1978, the short history of the new capital had not yet attributed to it any particularly brilliant moment in the arts, not least because the first generation of Brasiliense artists had not yet been formed. These were emerging, right there, with the face that those first two decades had had in the city. "Química" was one of the anthems of Aborto Elétrico and was the first song of the so-called Turma da Colina to be recorded on phonogram and released on LP and K7 throughout the country. Herbert Vianna (who had already recorded his first LP with Os Paralamas do Sucesso for the British label EMI) presented Jorge Davidson, the label's agent, with a cassette tape with recordings by Renato Russo (corresponding to the solo album O Trovador Solitário), which interested to the artistic director. Legião Urbana was called at the end of 1983 to record three demos, including "Geração Coca-Cola" and "Ainda É Cedo". Early on, the sound made by the band did not please EMI executives, who expected songs closer to folk, as the tape presented to Jorge by Herbert Vianna was from the period when Renato Russo was playing and singing alone (this phase is called The Solitary Troubadour). It was then that producer Mayrton Bahia emerged to mediate the relationship between the band and EMI and favor the group's arrival at the label. Jorge Davidson would sign a contract with the band in February 1984. The success

In 1984, a few months after the Legião signed a contract with EMI, it entered, at the suggestion of Marcelo Bonfá and due to a suicide attempt by Renato Russo in June 1984 in which he cut his left wrist and was unable to playing Bass for a while, bassist Renato Rocha. In October 1984, he began recording his first studio album. Urban Legion (1985)

Main article: Legião Urbana (album)

Legião Urbana, released on January 2, 1985, has a strong political and social commitment, with lyrics that make scathing criticisms of various aspects of Brazilian society. Parallel to this, it has some love songs that were remarkable in the history of Brazilian music, such as "Será", "Ainda É Cedo" and "Por While" - the latter being considered "the best ending track on a record" , according to Arthur Dapieve, critic and friend of Renato Russo. "Generation Coca-Cola" is another famous song on this album, as it took on the voice of those who had grown up under military rule, calling them "Generation Coca-Cola". All four of the aforementioned songs were, along with "Soldiers", promoted as singles.

Legião Urbana began to gain notoriety six months after the album's release, accelerating the pace of Brazilian youth music. Of the entire generation that emerged in the national rock boom in that decade, Legião Urbana was particularly the most acclaimed by audiences and critics. Despite the lyrics considered serious, on the other hand, the speech did not fall for the ease of pamphleteering tone.

Two (1986)

Main article: Two (album)

The group's second album, Dois, was released in July 1986. A style closer to folk with more lyrical lyrics surfaced more. If the first work had any post-punk urgency, Dois was a counterpoint; the complementary vision of a troubadour who was no longer lonely. The intention was for the disc to be double under the name of Mitologia E Intuição, but the project was denied by the record company, forcing the disc to be simple. "Daniel Na Cova Dos Leões" opens the disc and at the beginning of the recording, you can hear it an intro of a poorly tuned radio playing an excerpt from "Será" and some excerpts from the anthem of the Socialist International. This album is the band's second best-selling album, with more than 1.8 million copies (See Discography). "Tempo Perdido", their first single, was a great success and became one of the Legião classics. "Eduardo e Mônica", "Indios" and "Almost Without Wanting" were also promoted as singles.

What Country Is This 1978/1987

Main article: What Country Is This

The next album, Que País É Este 1978/1987 was released in December 1987. Dois's success made the record company put a lot of pressure on the band to release a new album, without there being any new repertoire for it. Of the nine tracks from Que País É Este, only two were composed after the album "Dois" - these, precisely the last two: Angra dos Reis (in reference to the construction of a nuclear plant in the city of Rio de Janeiro) and Mais do Same . The song Que País É Este was written in 1978, when Renato was only 18 years old and was starting his project with Aborto Elétrico. Faroeste Caboclo, in turn, was composed in 1979, but was never presented for Aborto Elétrico . Renato considered it his Hurricane (Bob Dylan's song about a boxer who spent years unfairly behind bars), and was initially based on a sudden with similarities to Raul Seixas' songs and to "Domingo No Parque", a song written by Gilberto Gil . Show at Mané Garrincha Stadium and distance from the stages

Former Mané Garrincha Stadium, site of a series of serious incidents that marked a new path for the Urban Legion.

Due to the lack of organization at the shows often caused by the fans, in addition to internal complications, especially with Renato Russo, the group's tours were never long. The band members felt physically and emotionally exhausted, especially Renato, for being the leader on whom fans placed their expectations.

Even with all the expectations and preparation, especially from Renato Russo, who believed that this would be the concert of his life, the performance that marked the band's return to Brasília, on June 18, 1988 at the Mané Garrincha Stadium ended in tragedy. Before the start of the show, failures in the organization and in the performance of the police caused a commotion outside the stadium, delaying the entrance of the public of more than 50 thousand people, and the show started more than an hour late and people were still in the queue to enter. With the tension in the air, a series of confusions ensued. Police violence, inflammatory speeches, homemade bombs and the invasion of the stage by a crazy fan who violently clung to the vocalist. The chaos scenario ended with the suspension of the performance and more confusion. About 63 people were arrested, more than 230 were injured and a wave of hatred for the band resulted. Walls around the stadium and near the house of Renato Russo's mother dawned graffiti with slogans against the band. The tour was suspended and, from there, the Legion never played in their hometown and would turn even more to the studios. The Four Seasons (1989)

Main article: The Four Seasons (album by Legião Urbana)

The album As Quatro Estações, from 1989, took a year to be released (preparation began in August 1988 and the result was published on October 30, 1989). Due to all the meticulousness of the arrangements and lyrics built over this time, the album is considered by fans the best and most inspired work of the group, and even by Dado Villa-Lobos and Renato Russo (who, according to his interview with MTV in May 1994, went on to consider the following album, "V", Legião's best so far). Of all 11 songs on the disc, only "1965 (Two Tribes)" and "Mauricio" were not promoted as singles. It is the best-selling Legion album, with over 2.6 million copies. Bassist Renato Rocha played with the other members in the group's first three studio albums and even recorded some bass lines on this album. However, he was kicked out of the group in February 1989 for lack of commitment during the recording of the album. The bass lines originally recorded by Rocha were discarded, and new lines were created and recorded by both Renato and Dado. The song "Feedback Song For A Dying Friend" was written in honor of Cazuza, who, before Renato discovered he was a carrier of the disease, had already announced that he was HIV positive. One of the most played songs, "Pais E Filhos", talks about the suicide of a young girl. V (1991)

Main article: V (Urban Legion album)

Released in November 1991, V is considered the band's most melancholy album.[34] Renato was at a complicated time in his life, due to the discovery that he was HIV positive a year and a half earlier; relationship problems with her boyfriend, Robert Scott Hickman; and your problem with alcoholism. There was also a lot of influence from the then Collor Government, which had a lot of prominence with the blocking of savings for all Brazilians. The album has a very atypical style of the group. "Metal Contra As Nuvens" - the longest song of the group, with a total of exactly 11 minutes and 24 seconds in length - and "O Teatro Dos Vampiros" were the most politicized songs on the disc. "A Montanha Mágica" also stood out because it was Renato's chemical dependency. Only "O Teatro Dos Vampires", "Vento No Litoral" and "O Mundo Anda So Complicado" were promoted as singles. The album had very poor sales compared mainly to the previous album, not even reaching 500,000 copies sold. The Discovery of Brazil (1993) and solo projects

Main article: The Discovery of Brazil (album)

The album O Descobrimento do Brasil (1993) was released at the time Renato Russo had started treatment to get rid of chemical dependency and was optimistic about its success. The album is dedicated to the musician Tavinho Fialho, the bass player who accompanied the band on the tour of the previous album and who died in an accident. In this way, Descobrimento is an album with strong notes of hope, but permeated by sadness and nostalgia. Still, it is considered by many to be Legião Urbana's most "cheerful" and delicate album. Art rock becomes very experienced on the record, in communion with alternative rock. "Perfeição" - the only song of social and political criticism on the album, with strong traces of pessimism -, "Giz" - the song that the members of the group are most happy to have done, with several references to childhood - and "Twenty and Nine" - a reference to the 29-year Saturn cycle as a fresh start for Renato - were the most successful songs.

1993 also marked the beginning of the members' involvement in solo projects. Dado teamed up with Plebe Rude bassist André X to found RockIt!, an independent record label that revealed new artists. Marcelo started doing computer graphics work and Renato planned his first solo album, The Stonewall Celebration Concert, which would come out the following year.

A Tempestade (1996), death of Renato Russo and end of group activities

Main article: The Storm or The Book of Days

Singer and composer Renato Russo, leader of Legião Urbana.

The last presentation of Legião Urbana took place on January 14, 1995, at the Reggae Night show house in Santos, on the coast of the state of São Paulo. In the same year, all of the band's studio albums up to 1993 were remastered at Abbey Road Studios in London, known worldwide for their recordings for the musical group The Beatles; and released in a can, entitled "Por While (1984 - 1995)". The tin also included a small book, with a text written by the anthropologist Hermano Vianna, brother of musician Herbert Vianna.

A Tempestade or O Livro dos Dias, released on September 20, 1996, was the band's last album published with Renato Russo alive. The same was marked by very introspective and depressive songs, alternating between the heavy sounds of "Natália" and "Dezesseis", the lyricism of "L'Avventura" and "O Livro Dos Dias", the experimentalism of "Música Ambiente", to the suffering of "Aloha" and "Esperando por Mim" and the lightness of "Soul Parsifal" and "1º De Julho" (a song written especially for the interpreter Cássia Eller, who released it firsthand in 1994). The lyrics, in general, address themes such as loneliness, the past, love, depression, HIV status, intolerance and injustice, said to be a "melodramatic" record with a sad soul. "The Milky Way" and "Sixteen" were her main singles.

Some songs on the album suggest an early farewell, as the phrase "and when I leave, no, don't cry for me" says in the song "Música Ambiente". The photos in the booklet were taken close to the time of the release, except for Renato, who was taken advantage of the photo shoot for his solo album Equilíbrio Distante (1995), as the singer, quite debilitated, refused to be photographed for the album. . The album A Tempestade was initially released with a paper cover and years later re-released with a plastic cover. Dado Villa-Lobos's photo is different between these two versions. With the exception of "A Via Láctea", the other tracks on the album have only the guide voice of Renato, who could not record the definitive voices. The guide voices were recorded at the beginning of the album recordings, as Renato was losing his vocal capacity. Also not included were the phrases "Urbana Legio Omnia Vincit" and "Ouça no Volume Máximo", present in the group's records. In its place, a phrase by the Brazilian modernist writer Oswald de Andrade: "Brazil is a Federative Republic full of trees and people saying goodbye". The official end of the band was announced on October 22, 1996, eleven days after the death of Renato Russo. He died 21 days after the release of A Tempestade, on October 11, 1996. 11 days later, on October 22, Dado, Marcelo and EMI Music artistic director João Augusto announced the end of the group's activities. that, by contract, he still owed the label three titles. Dado and Marcelo pursued their careers and released solo albums in the following years.

Due to a process of judicial reorganization of the group started in 1985 (by which an opportunist registered the group's trademark before its members), when the process was concluded, in 1991, the power of the Legião Urbana trademark would have to be centralized in only one member, chosen by Renato Russo. A month after his death, Dado Villa-Lobos and Marcelo Bonfá received a call moved by Renato's parents, through which it was announced that the two had lost the right to publicly say that they had participated in the Legião Urbana. This right was permanently recovered on March 27, 2015, the day Renato would have turned 55 if he were alive. after the end

Another Station (1997)

Main article: Another Season

Another Season was a posthumous album. The original idea was that The Tempest was a double album. But, since the cost of selling and producing would be too high, the idea was discarded by the group members and the unreleased material was reworked and released on this album. Songs like "Clarisse" were left out of the previous album at the wish of Renato himself, who considered it too heavy. The lyrics of "Sagrado Coração" appear in the booklet, however, Renato couldn't record it because he was already very weak. The album features guest appearances such as Renato Rocha, former bassist of Legião and Bi Ribeiro, bassist of Paralamas do Sucesso. "Before Six" and "As Flores do Mal" were her main singles. Latin Grammy Award-winning music producer Tom Capone worked as a co-producer on the album and recorded guitars and effects.

MTV acoustic

Main article: Acoustic MTV (album by Legião Urbana)

In 1992, the band participated in the second recording of the series Acústico MTV in Brazil. The record, dated January 1992, was published in October 1999 and was boosted by songs such as “Hoje A Noite Não Tem Luar” - Brazilian version of Menudos' “Hoy Me Voy Para México” - and reinterpretations by Neil Young, The Jesus And Mary Chain and Joni Mitchell. Taxes

Living members of Legião Urbana performing a tribute show in 2012 with actor Wagner Moura as vocalist.

On September 5, 2009, after rumors of a possible return to activities, the Manfredini family, Dado Villa-Lobos, Marcelo Bonfá and the record label EMI claimed that the information about the band's return was unfounded, clarifying that "a possible return of the band Legião Urbana is fake. There is no possibility of a comeback of the band Legião Urbana". Fifteen days after the denial, Dado Villa-Lobos and Marcelo Bonfá made a special appearance at a concert at the Porão do Rock festival, in Brasília. In 2011, Dado and Bonfá conducted, together with the Brazilian Symphonic Orchestra, a tribute to Legião Urbana during Rock in Rio 4. The concert featured guests who sang some of the band's hits (among them, Rogério Flausino, Pitty and Herbert Vianna) , as well as a special medley made by the Brazilian Symphonic Orchestra with excerpts from the group's songs. The following year, MTV Brasil organized a new tribute to the series MTV Ao Vivo, in São Paulo, for the thirty years since the beginning of the group's activities. The tribute had the participation of actor and director Wagner Moura as the main vocalist, as well as the participation of musicians Fernando Catatau and Clayton Martin (Instigated Citizen), Bi Ribeiro (Os Paralamas do Sucesso) and Andy Gill (Gang of Four), the latter guitarist of one of the Legion's greatest influences. Urban Legion XXX Years

Show of the tour "Legião Urbana XXX anos" in the city of João Pessoa.

By permanently regaining their rights to publicly say that they participated in Legião Urbana on March 27, 2015, guitarist Dado Villa-Lobos and drummer Marcelo Bonfá used the name Legião Urbana a few times. The first time was the recording of the special "Rock In Rio 30 Anos", a compilation of several Brazilian rock artists interpreting classics from fellow scene and Brazilian influences. Dado and Bonfá recorded, accompanied by Lucas Vasconcellos (lead guitar) and Mauro Berman (electric bass), versions for "Toda Forma de Poder", by Engenheiros do Hawaii and "Por Você", by Barão Vermelho. Later, the same musicians mentioned joined Roberto Pollo (keyboards) and André Frateschi (vocals) with the project Legião Urbana XXX Anos, which consisted of a series of concerts to celebrate the little more than 30 years of the release of the first album, bringing together the full repertoire of it and successes from the group's other albums. Due to misunderstandings, Dado and Bonfá clarified that the project was not a permanent return of the band Legião Urbana. The first presentation was on October 23 in the city of Santos, SP. Dado and Bonfá also released a special box from the group's first album, including the remastering of Legião Urbana, a disc of extra recordings and a booklet of the group's curiosities and documents. The box contains the tracks "Será", "Geração Coca-Cola" and "Soldados", as well as studio leftovers and versions that Legião played to show the label at the beginning of their career. Dado and Bonfá had a big problem with the track "1977", recorded and never released due to Renato Russo's dissatisfaction with the result. The song was the basis for two compositions by Renato Russo, "Fábrica" and "Tempo Perdido". When the box was ready for release, Dado and Bonfá were informed that the song belonged to Renato Russo with 75% of the rights and to Legião Urbana Produções Artísticas (owned by his son, Giuliano Manfredini) with 25%, and could not be in the box under his true credits (Renato Russo / Dado Villa-Lobos / Marcelo Bonfá). They presented a document made official by the Public Entertainment Censorship Department (DCDP) of the Federal Government, proving the veracity of the credits informed. Still, they found that 1977 was registered by Giuliano in 2004 in ECAD. Due to this new impasse, the box was released without the track "1977" in March 2016. The tour Legião Urbana XXX Anos, according to its official Facebook, featured a total of just under 100 concerts performed in the 5 regions of the Brazil. The last show of the tour was on December 30, 2016, in the city of Caraguatatuba. There were two other concerts of the project in 2018: the first on May 19, at Campus Festival in João Pessoa, and the second on May 20, at Virada Cultural de São Paulo. Due to great critical success and fan requests, Legião Urbana XXX Anos returned in September 2018 with a new tour, this time to present the band's second and third studio albums. The tour started on September 6 in Miami and then returned to Brazil for a series of shows across the country.

Plagiarism charges

There is controversy that the song "Que País É Este" would plagiarize a song by the American punk rock band Ramones called "I Don't Care", noted by many fans and experts for the similarity of arrangements and melody (or riff). When asked about the band's vocalist and songwriter, Renato Russo joked, answering and quoting the translation of the name of the American band's song: "I don't care!". Soon after, he confirmed that he was inspired by the Ramones' song. The fact, according to the same fans and experts, would not have come to the attention of the Ramones.

Another case of plagiarism, this time assumed, by Legião Urbana was the lyrics by the English duo Soft Cell. "Take your hands off me / I don't belong to you", an excerpt from the song "Say Hello Wave Goodbye", is a translation of the first verse of "Será", the main single from the band's first album from Brasília. Renato Russo said he was really "inspired" by Soft Cell's words for the excerpt "Get your hands off me / I don't belong to you". Another song that the Legion allegedly plagiarized was the Scottish group The Cartoons' version of Roxy Music's “Love Is The Drug” to create their famous song “Still It's Early”. Others claim the song would be plagiarism of Joy Division's "A Means To An End". Filmography

See main articles: Somos Tao Jovem, Faroeste Caboclo (film) and Eduardo and Mônica (film)

Two films related to the band were released in Brazilian cinemas, on the national circuit.

Somos Tao Jovens, by Antônio Carlos da Fontoura, with a script by Marcos Bernstein and original soundtrack by Carlos Trilha, portrays the adolescence of Renato Russo (played by actor Thiago Mendonça)[70] and the beginning of his interest in music, addressing the creation and extinction of the Electric Abortion and also its phase as O Trovador Solitário and the first two years of Legião Urbana. Distributed by the companies Imagem Filmes and Fox Film Brasil, it premiered in theaters on May 3, 2013. Shortly after, on May 30, Faroeste Caboclo was released, an adaptation of the homonymous song by Renato, directed by René Sampaio and scripted by Victor Atherino and Marcos Bernstein from the original lyrics, and distributed by Europa Filmes. The cast included Fabrício Bolivaira (João de Santo Cristo), Ísis Valverde (Maria Lúcia), Felipe Abib (Jeremias) and César Troncoso (Pablo). In July 2018, the recordings for the film adaptation of "Eduardo e Mônica" began. The film will feature Gabriel Leone as Eduardo and Alice Braga as Monica. The forecast was for the feature to premiere in Brazilian cinemas in April 2020. However, it was postponed due to the COVID-19 pandemic that occurred at that time. Members

Villa-Lobos data

Marcelo Bonfa

Urban Legion XXX Years

Dado Villa-Lobos - voice, guitar, guitar

Marcelo Bonfá - voice, drums

André Frateschi - voice

Lucas Vasconcellos - guitar, acoustic guitar

Mauro Berman - electric double bass, keyboards

Roberto Pollo - keyboards, programming

Lobão, artistic name of João Luiz Woerdenbag Filho (Rio de Janeiro, October 11, 1957), is a Brazilian singer, composer, musician and writer. His musical career is marked by great partnerships; he composed hits such as "Me Chama", a very famous song in the voice of several interpreters, which was ranked 47th among the greatest Brazilian songs, according to Rolling Stone, and "Vida Louca Vida", known in the voice of Cazuza. Despite having emerged and achieved success in the marginal and underground environment of Brazilian rock in the 1980s, Lobão has been dialoguing with various genres, such as samba and MPB, throughout his career. In 1988, for example, the Caution! had the participation of percussion from Estação Primeira de Mangueira. In 2020, the artist dived into his studio and began to re-record Brazilian music classics, which were part of his musical training. The Canções de Quarantine project already has 13 songs released on digital platforms, and is expected to come in physical version on CD and LP.

Biography

childhood and adolescence

João Luiz Woerdenbag Filho was born in 1957, at the Casa de Saúde São José hospital in the city of Rio de Janeiro, the son of João Luiz Woerdenbag, a car mechanic who worked for Rede Globo, and Ruth Araújo de Mattos, an English teacher of the Institute of Education of Rio de Janeiro. On the paternal side, Lobão is of Dutch descent. He also has a younger sister who lives in the Netherlands. His interest in music came early and at the age of three Lobão started playing the drums at the age of six, he got a toy drum from his parents and at thirteen his first professional drum set. At fifteen he started playing classical guitar. Lobão grew up in the South Zone of Rio de Janeiro and studied at Colégio São Vicente de Paulo. During his adolescence at school, he received the nickname "Lobão" from other students for the fact that he ate a lot at recess and dressed in a gardener's overalls held up by a single strap. At the age of nineteen, he was kicked out of the house by his father. He got crossed in the face and hit him with the guitar, smashing it to pieces on top of his father (“...I only calmed down when there was no more guitar to continue beating.”).

Career

Vimana and Blitz

His career began at age seventeen, after leaving home to become a professional musician. Afterwards, he joined the band Vímana, in which Lulu Santos and Ritchie were also part. Their first public performance with the band was held in a theater in São Paulo, in which they accompanied Marília Pêra. After other performances, Lobão recorded two songs with Vímana in 1975. In 1977, these two compositions were released on the single "Zebra / Masquerade". In the same year, they recorded an LP, which was not released by the label. Three years later, with the end of the group, Lobão continued his drumming career, playing with Luiz Melodia, Walter Franco, Gang 90 and the Absurdettes and Marina Lima. He founded the band Blitz with Evandro Mesquita and Fernanda Abreu and others, but due to artistic differences, he left the group even before the commercial success. It was Lobão who named the band, on the eve of a show, after the group's indecision.

Solo career

Lobão in an interview for TV Cultura.

Lobão had already decided to leave the Blitz. However, he needed, somehow, to pave the way for his solo career. He learned that the band would be interviewed by a large-circulation magazine. So he pretended he would continue as drummer for Blitz just to be on the cover. The interview was already scheduled, he spoke through his elbows, attracted the greatest attention. Then, with the magazine under his arm and the tape of "Cena de Cinema" in his hands, he went to knock on the door of the record company. Twenty minutes later, he had already signed a solo career. It came out singed from Blitz—and scratched off the band's record cover. In retaliation, they drew, in his place, the face of Lobo Mau. Lobão, then began his solo career with the release of Cena de Cinema, in 1982. He then formed the band "Lobão e os Ronaldos" (which he had in his formation). the Dutch singer and keyboardist Alice Pink Pank, ex-Gang 90 and the Absurdettes, as well as Guto Barros, guitarist and one of the founders of Blitz), who released Ronaldo Foi Pra Guerra. Lobão appeared in cinema acting and singing with the band in Areias Escaldantes (1985), but the film was only released in a few cinemas in Rio de Janeiro. Despite the success of "Me Chama", the band has a short life, and after the release of the single "Decadence Avec Elegance" (1985) Lobão pursues a solo career maintaining high media turnover and releases the album O Rock Errou (1986), of which "Rematch" becomes the flagship. Shortly after its release, Lobão was arrested for drug possession in 1987, spending three months in jail. There he develops the album Vida Bandida, returning to the spotlight. Also in 1987, he recorded the song "A Deusa do Amor" with Nélson Gonçalves, which is featured on Nélson's album Nos. After a flirtation with samba-rock and appearances in Hollywood Rock (1990) and Rock in Rio II (1991) (where he received a historical boo), Lobão spends a period outside the media. He returns to Hollywood Rock in 1996, as a guest of Gilberto Gil, who years later would be one of his targets of criticism. Around 1998, he became interested in electronic music, especially in the compositions of Trent Reznor, from Nine Inch Nails, releasing the album Noite in the same year.

His controversial attitudes came back to light in 1999 after his break with the record companies and the release of A Vida É Doce in an unprecedented scheme, with distribution through the Internet, newsstands and department stores. After the success of sales and reviews with his independent albums A Vida É Doce (1999) and 2001: Uma Odisséia no Universo Paralelo (2001), he launched the magazine Outracoisa, through which he launched bands and musicians independently, such as Cachorro Grande, BNegão, Mombojó and Arnaldo Baptista. His penultimate studio album, Canções Dentro da Noite Escura, released in 2005, was also released by the magazine with an initial print run of 21,000 copies. In April 2007 he released the album Acústico MTV, which was awarded the Latin Grammy award in the category best rock record, and as Lobão himself characterized, it was a "partial" selection of the musician's hits, including the participation special by the group Cachorro Grande, released by Outracoisa.

The 2009 ENEM used the song "Para o Mano Caetano", from the 2001 album: Uma Odisseia no Universo Paralelo, in one question. That same year, Caetano Veloso released the album Zii e Zie, which contains the track "Lobão Tem Razão", made in response to "Para o Mano Caetano", which in turn was a response to "Rock 'n Raul", released in 2000 , where Veloso made a slight quote to Lobão.

At the end of 2010, the singer released his biography, 50 Anos a Mil, with journalist Claudio Tognolli. The book tells new and well-known stories about the musician's life, in addition to the lyrics of two songs, Song for Sampa, in honor of São Paulo, and Das Tripas, Coração, in honor of Júlio Barroso (1953 - 1984), Cazuza (1958) - 1990) and Ezequiel Neves (1935 - 2010). Along with his book, Lobão, in partnership with Sony Music, put together a box with three CDs plus the DVD by Acústico MTV, containing the most significant songs from the first 10 years of his career, all the songs chosen by him and remastered by the producer American Roy Cicala, famous for working with great names in world rock, such as John Lennon and Jimi Hendrix, and with Brazilians Nasi and Ciro Pessoa. In mid-2011, about to complete one year of release, 50 Anos a Mil reached the milestone of 100,000 copies sold. In the same year, Lobão toured with the tour "Elétrico 2011", which generated the CD and DVD Lobão Elétrico: Lino, Sexy & Brutal (Ao Vivo em SP), recorded in October 2011, at Citibank Hall, in São Paulo. The record was released and distributed by Deckdisc at the end of 2012. In 2013, it participated in Virada Cultural, an event organized by the City of São Paulo, where it attracted a good audience. In 2015, he recorded his first new album in 10 years, entitled O Rigor ea Misericórdia. Released in January of the following year, Lobão played all the instruments and produced the album. The project, carried out via crowdfunding, gave rise to the book Em Busca do Rigor e da Misericórdia - Reflections of an Urban Ermit, published by Editora Record also in 2015. At the end of 2016, the musician announced a tour of four shows with the band Grave, entitled The Call. In 2018, he released the album Politically Incorrect Anthology of the 80s through Rock – inspired by the artist's almost homonymous last book, Politically Incorrect Guide to the 80s through Rock (2017) – it only reached the phonographic market in 2018. The release was made in formats double CD, double LP, pen drive and digital edition. The artist sought funds via crowdfunding to finish the 18th album.

Politically incorrect anthology of the 80s by rock is Lobão's first album as a performer. Unlike the previous O rigor and mercy (2016), an album recorded in a solitary way by the singer, composer and musician, the rock anthology was formatted in the studio with the band Os Eremitas da Montanha, formed by musicians Armando Cardoso (drums), Augusto Passos (bass and voice), Christian Dias (guitar) and Felipe Faraco (keyboards).

In 2020, the year of the Coronavirus pandemic, the musician dived into his studio to produce a sequence of songs that marked him in his musical education. Entitled Canções de Quarantena, the first track was released on August 28 with O Trem Azul, by Lô Borges and Ronaldo Bastos, followed by BR-3, by Antônio Adolfo Maurity Saboia / Tibério Gaspar Rodrigues Pereira. The sequence will feature Pedaço de Mim, by Chico Buarque de Holanda, Canteiros, by Fagner and Cecilia Meirelles, Today Is Still a Day of Rock, by José Rodrigues Trindade, Lunch Time, by Belchior, Satin Patches, Benito di Paula, Eu I want to put my block on the street, by Sérgio Sampaio and Sérgio Augusto, Azul da Cor do Mar, by Tim Maia, Como Vai Você, by Antônio Marcos, and many others.

Editor

In 2003, Lobão launched the cultural magazine Outracoisa, in partnership with L&C Editora. This magazine brought together contributions from Brazilian musicians and thinkers, including José Celso Martinez Corrêa, Angeli, Laerte, Adão Iturrusgarai, Marta Medeiros and others. In 2010, he released his autobiography 50 Anos a Mil, which tells from his youthful stories to his wildest experiences as a musician. The book is co-signed by Claudio Tognolli. Lobão insists that without Claudio's "documentation", people would not believe the stories. In 2012, he began writing a new book, titled Manifesto do Nada na Terra do Nunca, released in 2013. In 2015 he published In Search of Rigor and Mercy - Reflections of an Urban Hermit, by Record publisher and in 2017, he launched the Guide Politically Incorrect 1980s by Rock, by LeYa.

In 2020, Lobão writes the second part of his autobiography, 60 Anos a Mil, narrating all the details of his intense journey in the last decade – a period in which he produced a lot, renewed controversy, inspired actions and provoked reactions.

At the end of 2010, the singer, composer and multi-instrumentalist Lobão published his explosive autobiography, the best-seller 50 years a thousand. Now, ten years later, he treats readers to the second (and equally explosive) part of his story, including the new fights he got involved in, his most recent artistic creations and the turmoil Brazil has gone through in the last decade.

Aged 60 to a thousand, Lobão asserts himself as a “rock'n'roll author”, giving us, in this fifth work, an intense and courageous narrative. Much can be said about him, but he can never be accused of omission: in this novel, Lobão is even dedicated to sharing with the public reasons and disappointments for his choices, convictions and revisions.

Controversials and controversies, but, as on the cover, since 50 to a thousand years, Lobão always presents himself head-on – giving the slap in the face.

Television

Lobão performing at Circo Voador in Rio de Janeiro in 2011.

As of 2005, Lobão starts working with television. At this time, he presented the program Saca Rolha, on PlayTV, together with Marcelo Tas and model Mariana Weickert. The three received guests every day to discuss national and international issues together. He worked from June 2007 to December 2010 as a presenter at MTV Brasil. He presented 4 programs, including MTV Debate, throughout his period as Vj, MTV Code, in 2008, Lobotomy, in 2010, and Lobão ao Mar during the summers of 2009 and 2010. In 2007 he participated in Som Brasil, honoring Raul Seixas. He participated as a judge in the Astros do SBT, in 2008.

During 2011, he stayed away from television to take care of his music career. In November 2011, he signed with Rede Bandeirantes to present the program A Liga, in place of comedian Rafinha Bastos. Three months after the start of the recordings, Lobão left the attraction due to problems with the production of the program, in addition to, at the time, being involved with the production of the new CD and DVD Lobão Elétrico: Lino, Sexy & Brutal (Ao Vivo em SP) , which was released in September 2012 by Deckdisc and the beginning of the book Manifesto of Nothing in Neverland, which was released in April 2013. He has been interviewed on programs such as Roda Viva, The Noite, Agora é Tarde, De Frente with Gabi, Programa do Jô, Passando a Limpo, Provocações, Jô Soares Onze e Meia, among others. In the 1980s, he played, among others, at Globo de Ouro and at Cassino do Chacrinha, important programs on Rede Globo.

In honor of his 60th birthday, Nelson Motta's column, in Jornal da Globo, on November 3, 2017, was about him. In it, the columnist claimed to consider him one of the greatest composers of his generation. Movie theater

In 1985, he acted in the film Areias Escaldantes, a Brazilian musical film. In 2013, Canal Bis aired the documentary Universo Lobão, which tells about his career. The book 50 Anos a Mil would go to movie screens in 2016, but the singer canceled the project.

Personal life

Relatives

His mother was a cardiac patient and committed suicide in 1984. She left a letter holding him responsible for her death. Twenty years later, his father also committed suicide. relationships and marriages

Lobão was married to actress and composer Daniele Daumerie, who died in 2014, long after their separation. In this marriage he had a daughter, Julia Peres Woerdenbag. The artist from Rio de Janeiro has lived in the city of São Paulo since 2002, with Regina Lopes, to whom he has been married since 1991.

Lobão was one of the best friends of singer and composer Cazuza (1958-1990).

political views

In 1989, upon returning from a season in the United States, Lobão voted for Lula, asking for a live vote for him on Domingão do Faustão, which, consequently, caused the singer's banishment, for many years, from any and all programs on the Network Globe.[30][31]

Currently, he is one of the most conservative Brazilian artists, praising Olavo de Carvalho, with whom he recently fought, and the Ludwig von Mises Brasil Institute. He was in favor of Dilma's impeachment, including playing on stage for a pro-impeachment demonstration. He is a partner in the cause of his friend and also rocker Roger Rocha Moreira, from Ultraje a Rigor, another activist in the conservative cause and staunch opponent of the Workers' Party and its members.

Carlos Leoni Rodrigues Siqueira Júnior, better known only as Leoni (Rio de Janeiro, April 8, 1961), is a Brazilian singer, composer, musician and writer.

Career

1981–86: Kid Abelha

He started playing bass at age 16, when he formed his first rock group with friends from school, called "Chrisma".

In 1981 he started as bassist and main composer for the band Kid Abelha, along with George Israel, Paula Toller, Alessandro Gonçalves who was a bassist who lived in the city of Peixe, in the state of Tocantins, and later Bruno Fortunato. He had a romantic relationship with Paula Toller, but in 1986, after two gold records, there was a disagreement between the two. The members of Kid Abelha and the wild Aboboras were invited to play the song A formula do Amor (a partnership between Leo Jaime and Leoni) in a show by Leo Jaime, but they forgot to call Leoni on stage at the time of the performance of the song, which led the band to have an internal fight that led the musician to distance himself further from the band.

1986–92: Heroes of the Resistance

In 1986, Leoni founded the Heroes of Resistance, where he was the vocalist and bassist. With the Heroes he released three albums, got a gold record and hit the hits "Só Pro Meu Prazer" and "Double de Corpo". As time passed, and the goals of the members diverged, the band disbanded in 1993.

1993–present: solo career

In 1993, he went solo releasing the song "Garotos II" (in a pop/rock style), which remained on the charts across the country for six months, which had already happened sixteen times, as with "Fixação ", "Just for My Pleasure", "As I Want", "Exaggerated", "Doublé de Corpo" and "The Formula of Love". In the same year, he was successful with the song "Carro e Grana", which exalted the pop reggae rhythm of the moment. He had some renowned partners such as Cazuza, Herbert Vianna, Leo Jaime, Paula Toller, Roberto Frejat, Ney Matogrosso, Vinícius Cantuária, Ivan Lins, Paulinho Moska and Rodrigo Maranhão.

In 1995, he released the book "Letra, Música e Outros Conversas", where he interviews and talks with eight renowned artists of his generation (Renato Russo, Herbert Vianna, Lobão, Frejat, Adriana Calcanhoto, Marina Lima, Samuel Rosa and Nando Reis) about the composers' creation process.

In 2002, after eight years without releasing a full album, he set up the label Batuque Elegante, where he released "Você Sabe o que Eu Quero Dizer", a CD with new songs and Brazilian rhythm. From this album, "Fotografia", "Season of Flowers", "As Cartas que Eu Não Mando" and "Melhor pra Mim" stand out. He started playing shows in Lonas Culturais and in some small clubs like Pop Rock, in Belo Horizonte. The shows, at first small, began to gain a captive audience. In 2003, realizing that the public did not always recognize his songs as being his own, he decided to record a CD bringing together his repertoire. It was a project aimed at informing the public about his contribution to Brazilian music. The album was named Audio-portrait for this reason, being produced by maestro Eduardo Souto Neto, and featuring Leo Jaime in Lágrimas e Chuva, Dinho Ouro Preto in "Garotos II - O Outros Lado", Rodrigo Maranhão in "Falando de Amor" and Herbert Vianna in the unpublished "Song for When You Back", made by Leoni for his friend after the plane crash. Released by Som Livre, the CD soon became a sales success and boosted Leoni's career, greatly expanding her audience and her concert schedule.

In 2005, due to the success of the previous album, he released the CD and DVD "Ao Vivo". Both the CD and the DVD achieved sales that earned it a gold disc. They have the same appearances as the Audio-portrait, as well as Herbert Vianna reinterpreting his first partnership with Leoni, "Por Que Não Eu?", which ended up on the soundtrack of the soap opera A Lua me Disse. In all, more than 85 thousand CD's and 50 thousand DVD's were sold.

In 2006, Leoni recorded an unpublished album called "Outro Futuro", with a premiere show in Juiz de Fora, at Cine Theatro Central, and a premiere show in Rio de Janeiro, at Canecão. The title track is a partnership with Daniel Lopes, his guitarist and partner of other compositions to come. After the release, he went to Paris together with six Ashaninka Indians (from Acre), to record a documentary and a show based on his album. The DVD "Outro Futuro", was produced by TV Zero by Roberto Berliner, and had a good acceptance among fans.

In 2007, Leoni decided to use the internet to get closer to her fans. His first tool was a community on the social networking site Orkut, where he joined and interacted with whoever was there. Soon after came the desire to transport the system used on Orkut to its official website. There, in addition to promoting his work, he managed to have greater contact with his fans. In mid-2008, Leoni decided to turn her website into her record label and distributor as well, making one song a month available to anyone registered on her website, free of charge. Each song comes with audio (in normal and superior quality), lyrics, cipher and a short history of how it was composed and recorded. Until August 2009, ten songs had been released, one of which was composed in partnership with a fan, winner of a contest proposed by Leoni. By the way, it is with contests and promotions that the singer moves the site, today with more than 30 thousand registered. The last contest took place in partnership with MPB FM, where a fan, elected by the public, sang together with Leoni the song "Um Herói que Mata", in the recording of the program Palco MPB, shown on August 25, 2009.

In 2011, he made a special appearance on the CD A Sociedade do Espetáculo, by the band O Teatro Mágico, in the 15th song of the album, entitled "Nas Margens de Mim", composed together with the leader of the troupe, Fernando Anitelli. After the tour "A Noite Perfeita", accompanied by guitarist Gustavo Corsi, Italian bassist Andrea Spada and drummer Lourenço Monteiro. Leoni launched his tour "Como Mudar o Mundo" in 2013, accompanied by the band Furacão de Bolso. The show "Notícias de Mim" premiered in 2015 at Circo Voador, Rio de Janeiro, to promote their homonymous work, entirely funded by fans in a collective funding project through Catarse.

The next tour was 'Multiverse'. The new show mixes music, poetry and projections. In addition to traditional concert formats – voice/guitar and with band.

In 2020, with isolation because of Covid-19, he started to make frequent lives on his Youtube channel

Paulo Ricardo Oliveira Nery de Medeiros (Rio de Janeiro, September 23, 1962) is a Brazilian bassist, musician, composer and actor.

Biography

Paulo Ricardo Oliveira Nery de Medeiros was known as a musician, composer, singer, bassist, guitarist, journalist and actor. He was born in Rio de Janeiro on September 23, 1962, in the neighborhood of Urca. Son of engineer Waldeck Nery de Medeiros and teacher Sônia Oliveira, he has two sisters named Cristiane and Rosane. He has four children: Paola, Isabela, Luís Eduardo and Diana.

His relationship with music started early. At the age of five, he was taken by his kindergarten teacher to perform on TV Globo's A Hora do Tio Vinícius television program, hosted by Augusto César Vannucci. After living in Rio de Janeiro, Brasília and Florianópolis, he formed his first band in 1978, in São Paulo, with his friend Ismael. The band was called Soundtrack.

He studied Journalism at ECA at USP and after meeting keyboard player Luiz Schiavon, he formed a new band, Aura, without significant results. In 1982, he went to London where he wrote the column “Via Aérea” about European music for SomTrês magazine and had contact with technopop, new wave and post-punk scenes, as well as exponents of British pop/rock. The constant correspondence with Luiz Schiavon, in Brazil, maintained the friendship/partnership started in 1978.

1983 - 1992

After six months in Europe, he returned to Brazil and with Schiavon he formed the band RPM together with guitarist Fernando Deluqui and drummer Moreno Junior, then replaced by Paulo PA Pagni. RPM started to perform in several nightclubs in São Paulo and attracted the attention of record companies. He signed an unprecedented five-album deal with CBS. The album Revoluções por Minuto was recorded at Estúdios Transamérica, in São Paulo, between 1984 and 1985, with production by Luiz Carlos Maluly. The disc sold over 600,000 copies. In 1986, they released the live album Rádio Pirata ao Vivo, directed by Ney Matogrosso and which sold more than 2.7 million copies nationwide.[4] In 1988, they released the album RPM (known as Quatro Coyotes), which although it sold over 200,000 copies, did not prevent the band from disbanding the following year.

With the end of RPM, Paulo Ricardo decided to pursue a solo career. The first work was produced and arranged by him, together with Fernando Deluqui and Guilherme Canaes. Released in 1989 and entitled Paulo Ricardo, it featured the hits “A um Passo da Eternidade” and “A Fina Poeira do Ar” with Rita Lee's participation. In 1991, her second album, Psico Trópico, produced by Liminha, was released.

1993 – 1999

In 1993, the following work was called RPM – Paulo Ricardo & RPM. Produced by Mayrton Bahia and co-produced by Guilherme Canaes, it featured Marco da Costa on drums and Franco Jr. on keyboards. On guitar was again Fernando Deluqui who participated in the album and in the composition of the songs. Highlight for “Ninfa”, song in partnership with Paulo PA Pagni. In 1996, he released the work Rock Popular Brasileiro, where he reinterpreted several classics of rock and national pop. Renato Russo's participation in “A Cruz ea Espada” became a hit 10 years after its release with RPM.

From then on, Paulo Ricardo's career began to follow the path of pop-romantic, showing the influence that Roberto Carlos always had in his adolescence. The 1997 album O Amor Me Escolheu shows this trend and in it Paulo Ricardo recorded hits by Djavan, Jorge Ben Jor and Fagner, presenting the hit “Dois” in partnership with Michael Sullivan. This song was included in the soundtrack of the soap opera Corpo Dourado, by Rede Globo, in 1998. “Dois” was elected the most played song in Brazil that year. The song “Tudo por nada” – the Portuguese version for “My heart can't tell you no”, recorded by Rod Stewart in 1988 – was the opening theme of SBT's soap opera Pérola Negra, in 1998.

With Amor de Verdade, in 1999, Paulo Ricardo exposed all his romantic side and paid homage to Roberto Carlos. The work is permeated by re-recordings by the King and with emphasis on the unprecedented "As if it were the first time", a partnership with Michael Sullivan, where the composers used Roberto Carlos' song titles to compose the song. The song “Sonho Lindo” was the opening of the soap opera A Usurpadora, by SBT, in 1999.

2000 – 2009

The album Paulo Ricardo, once again marked by its romantic content, was released by Universal in 2000 and featured 13 songs, of which 11 were written with partner Michael Sullivan. In 2001, Paulo Ricardo re-recorded “Imagine”, a song by John Lennon, which was the theme of the soap opera Estrela-Guia, on Rede Globo. The remake and the Portuguese version was personally authorized to Paulo Ricardo by Yoko Ono, widow of the former Beatle. Also in 2001, Paulo Ricardo returned to work with RPM's partners and released the single Vida Real, which is the opening theme of the program Big Brother Brasil, on Rede Globo. At the end of the same year, work began with MTV to launch an RPM special with CD and DVD. The album "MTV RPM 2002" was recorded live at Teatro Procópio Ferreira, in São Paulo, on March 26 and 27, 2002. The work sold more than 300 thousand copies of the CD and 50 thousand copies of the DVD.

The year 2002 was full of achievements. DreamWorks invited Paulo Ricardo to make the soundtrack for the Brazilian version of the movie Spirit: O Corcel Indomável, which had the original English version recorded by singer Bryan Adams. With this work, recorded in São Paulo by his old companion Guilherme Canaes, Paulo Ricardo received the DreamWorks award for best international vocal performance in the translation of Spirit. In November of the same year, Paulo Ricardo began his participation as an actor in Rede Globo's soap opera Esperança, in the role of Samuel, Camille's romantic partner, played by Ana Paula Arósio. In addition, he composed and performed with RPM the song “Where is my love?”, the theme song of Nina's character, performed by Maria Fernanda Cândido.

In 2003, after disagreements between the members, the RPM was again disbanded. Paulo Ricardo resumed his work as a singer and started a new project: the PR.5 group. The band was formed by Paulo Ricardo himself, Paulo PA Pagni, Jax Molina (ex-DeFalla), Juninho, Paulinho Pessoa and Yann Laouenan (ex-Metrô). In 2004, the work Zum Zum was released. In 2005, with the band PR.5, he released the CD and DVD Acoustic Live, where he interpreted international hits by bands and singers who had some influence in the initial phase of his musical formation. In this work, stand out the interpretations of “Beautiful Girls” by INXS, “Tonight's the Night (Gonna Be Alright)” by Rod Stewart, “Wicked Game” by Chris Isaak, “Is This Love” by Bob Marley, “Your Song ” by Elton John, among others. It also brings the special appearance of Toquinho in "Quiet Nights Of Quiet Stars (Corcovado)", making a little seen partnership between a singer from MPB and a star from BRock.

In November 2006, Paulo Ricardo released the CD Prisma, the name of his first band. The new work featured new songs by him and several partners. The CD also marked the return of the partnership with Luiz Schiavon in the song “O dia D, a Hora H”. The work was nominated in 2007 for a Latin Grammy Award, in the category "best contemporary pop album". In December 2007, the book Revelações Por Minuto, by Marcelo Leite de Moraes, with photos by Rui Mendes, was released, telling the story of RPM.

In July 2008, a box commemorating RPM's 25th anniversary was released, containing the band's three albums, a rarity CD and a DVD with the 1986 show “Rádio Pirata” at Anhembi, in São Paulo, and recordings of programs such as Cassino do Chacrinha, Mixto Quente and Globo Repórter.

2010 – 2012

In 2010, Rede Globo produced the special Por Toda Minha Vida about RPM. The program presented the band's trajectory from the beginning to the end in 1989. With testimonials from the musicians themselves and from people linked to the band's history, the program was a trigger for a new comeback.

In early 2011, Paulo Ricardo and Luiz Schiavon were already composing new songs and rehearsing with Fernando Deluqui and Paulo PA Pagni. The show that marked the return was at the closing of Virada Cultural, in São Paulo, on April 17, 2011. The official launch of the band's new tour was on May 20 of the same year, at Credicard Hall, in São Paulo , featuring new songs and classics from the 80s.

The release of the Elektra album took place on November 18, 2011, at Citibank Hall, in Rio de Janeiro. This work brought a double CD with 12 new songs, highlighting “Dois Olhos Verdes”, “Very Tudo”, “Ela é Demais (Pra mim)” and the re-recording of “Ninfa”. The second CD consists of seven of the twelve unreleased songs, remixed by DJ Joe K. The album was nominated for a 2012 Latin Grammy.

career as an actor

He played the character Samuel in the telenovela Esperança, shown by Rede Globo from 2002 to 2003. His participation in the telenovela earned the network 43 pico de picos.

2013 played the character Rico in the series Surtadas na Yoga on the GNT channel.

2014 made a participation in the film Apneia, where it was directed by Mauricio Eça.

2017 made a participation in the soap opera Rock Story, where it was directed by Dennis Carvalho.

Agenor de Miranda Araújo Neto, better known as Cazuza (Rio de Janeiro, April 4, 1958 — Rio de Janeiro, July 7, 1990), was a Brazilian singer, composer, poet and lyricist. First known as the vocalist and main lyricist of the band Barão Vermelho,[1] in which he successfully partnered with Roberto Frejat, Cazuza later pursued a solo career, gaining critical acclaim as one of the main poets of Brazilian music. Cazuza was also known for being rebellious, bohemian and controversial, having assumed his bisexuality in interviews. In 1989 he revealed to be seropositive (a term used to describe the presence of the HIV virus, which causes the Acquired Immunodeficiency Syndrome), and died in 1990, at the age of 32 in Rio de Janeiro.

Biography

childhood and adolescence

Son of Lucinha Araújo (1936) and musical producer João Araújo (1935-2013), Cazuza received the nickname even before birth. Agenor, his real name, was received at the insistence of his paternal grandmother. As a child, Cazuza didn't even know his birth name, so he didn't answer the call at school. Only later, when he discovered that one of his favorite composers, Cartola, was also called Agenor (actually, Angenor, due to a registry error), did Cazuza begin to accept the name. Cazuza has always had contact with music. Influenced from a young age by the great names of Brazilian music, he had a preference for dramatic and melancholic songs, such as those by Cartola, Dolores Duran, Lupicínio Rodrigues, Noel Rosa, Maysa and Dalva de Oliveira. He was also a big fan of rocker Rita Lee, for whom he wrote the lyrics of the song "Perto do Fogo", which Rita set to music. Cazuza grew up in the Leblon neighborhood and studied at Colégio Santo Inácio until moving to Colégio Anglo-Americano, to avoid failure. As the parents sometimes went out at night, the only child was with his maternal grandmother, Alice. Around 1965, he began writing lyrics and poems, which he showed to his grandmother. Thanks to his father's professional environment, Cazuza grew up around the biggest names in Brazilian popular music, such as Caetano Veloso, Elis Regina, Gal Costa, Gilberto Gil, João Gilberto, Novos Baianos, among others. The mother, Lucinha Araújo, also sang and recorded three albums.

In 1972, taking a vacation in London, Cazuza got to know the songs of Janis Joplin, Led Zeppelin and Rolling Stones, and soon became a big fan. Because of his father's promise, who said he would give him a car if he passed the entrance exam, Cazuza was approved in Communication in 1976, but dropped out of the course three weeks later. Later he began to frequent Baixo Leblon, where he led a bohemian life, drinking and smoking, and having sexual relations with men and women. To prevent his son from continuing to maintain a rebellious attitude towards life, João Araújo created a job for him at the Som Livre record company, of which he was founder and president. At Som Livre, Cazuza worked in the artistic department, where he screened new singers' tapes. Soon after, he worked in the press office, where he wrote releases to promote the artists. At the end of 1979, he took a photography course at the University of California at Berkeley, in the United States. There, he discovered the literature of the Beat generation, the so-called cursed poets, which would later have a great influence on his career. In 1980, he returned to Rio de Janeiro, where he joined the theater group Asdrúbal Trouxe o Trombone at Circo Voador. It was at this time that Cazuza sang in public for the first time. Singer and songwriter Leo Jaime, invited to join a new garage rock band that was being formed in the Rio Comprido neighborhood, did not accept, but indicated Cazuza on vocals. From those rehearsals at the home of keyboardist Maurício Barros, Barão Vermelho was born.[5] On November 30, 2013, his father João Araújo, then president of Som Livre, died after a heart attack at the age of 78. Career

red baron

Barão Vermelho, who until then was formed by Roberto Frejat (guitar), Dé Palmeira (bass), Maurício Barros (keyboard) and Guto Goffi (drums), really liked Cazuza's screaming vocals. Then, Cazuza showed the band lyrics he had written and started composing with Roberto Frejat, forming one of the most celebrated duos in Brazilian rock. From then on, the band that previously only played covers started to create its own repertoire. After listening to a demo tape of the band, producer Ezequiel Neves convinced Som Livre's artistic director, Guto Graça Mello, to record the band. Together they convince the reluctant João Araújo to bet on the Baron.

With a cheap production and recorded in just two days, the band's first album, Barão Vermelho, was released in 1982. Of the most important songs, "Bilhetinho Azul", "Ponto Fraco", "Down Em Mim" and "Todo Amor Que Exister Nessa Vida" stand out. Despite being critically acclaimed, the disc only sold 7,000 copies. After some shows in Rio de Janeiro and São Paulo, the band returned to the studio and with a better production recorded the album Barão Vermelho 2, released in 1983. This album sold 15 thousand copies. It was at this stage that, during a show at Canecão, Caetano Veloso appointed Cazuza as the greatest poet of the generation and criticized the radio stations for not playing the band. At the time, the radios only played Brazilian pop and MPB. The label of "damned band" only abandoned Barão Vermelho when singer Ney Matogrosso recorded "Pro Dia Nascer Feliz". It was the missing push, and the band took on a public life of its own.

Largest Abandoned and Rock in Rio

The band was invited to compose and record the theme for the movie Bete Balanço. The title song became one of the band's great classics, boosting the film that became a box office success. The song also boosted sales of Barão's third album, Maior Abandonado, released in October 1984, which was certified gold, recording other compositions such as "Maior Abandonado" and "Por Que a Gente é Assim?". On January 15 and 20, 1985, Barão Vermelho performed at the first edition of Rock in Rio. The band's performance on the fifth day became anthological for coinciding with the election of President Tancredo Neves and the end of the Military Dictatorship. Cazuza announced this fact to the audience and to celebrate, he sang "Pro Dia Nascer Feliz". "I don't share anything, least of all the stage"

Cazuza left the band in order to have the freedom to compose and express himself, musically and poetically. In July 1985, during rehearsals for the fourth album, Cazuza left Barão Vermelho to pursue a solo career. It is suspected that that same year he began to have fever daily, signs of AIDS that would worsen years later. Ezequiel Neves, who worked with Barão, was divided between the band and Cazuza's solo career. "I was 'Solomonic'", he declared in an interview with Jornal do Commercio, in 2007, when Cazuza would turn 49 years old.

Solo career

Exaggerated and Only if It's for Two

In October 1985, Cazuza was admitted to be treated for pneumonia. Cazuza demanded an HIV test, which the result was negative. In November 1985, his first solo album, Exagerado, was released. "Exagerado", the title track composed in partnership with Leoni, becomes one of the biggest hits and trademark of the singer. The song "Só As Mães São Felizes" was banned by the censors. Recorded the second album in the second half of 1986; as Som Livre broke up with its cast of artists, Só Se For A Dois was released by PolyGram (now Universal Music Group) in 1987. Soon after, PolyGram signed Cazuza. Only if It's for Two showed romantic themes such as "Only if It's for Two", "O Nosso Amor a Gente Inventa", "Solitude Que Nada" and "Ritual".

Ideology and Time Doesn't Stop

AIDS manifested in 1987; Cazuza was hospitalized with pneumonia, and a new test revealed that the singer was a carrier of the HIV virus. In October, Cazuza was admitted to Clínica São Vicente, in Rio de Janeiro, to be treated for a new pneumonia. He was then taken by his parents to the United States. There, he underwent AZT-based treatment for two months at Boston's New England Hospital. Upon returning to Brazil in early December 1987, Cazuza began recording for a new album. Ideologia, from 1988, includes the hits "Ideologia", "Brasil" and "Faz Parte Do Meu Show". "Brasil", in a version by Gal Costa, was the opening theme of the telenovela Vale Tudo, on Rede Globo, and won the Sharp award for best song of the year and best pop-rock composition of the year (Cazuza, George Israel and Nilo Romero).

The shows become more elaborate and the tour of the album Ideologia, directed by Ney Matogrosso, traveled throughout Brazil. O Tempo Não Para, recorded at Canecão during this tour, was released in 1989. The album became the biggest commercial success, surpassing 500 thousand copies sold. The track "O Tempo Não Para" became one of his biggest hits. "Todo Amor Que Hár Nessa Vida" also stands out with a new, more introspective arrangement, "Codinome Beija-Flor" and "Faz Parte Do Meu Show". "O Tempo Não Para" was also released on VHS by Globo Filmes. Bourgeoisie

In February 1989 Cazuza publicly declared that he was HIV positive, thus helping to create awareness of the disease and its effects. He attended the Sharp Award ceremony in a wheelchair, and received the awards for best song for "Brasil" and for best album for Ideologia. Bourgeoisia (1989) was recorded with the singer in a wheelchair and with a distinctly weakened voice.[1] It is a double album of dual concept, being the first album with Brazilian rock songs and the second with MPB songs. Bourgeoisia was the last album recorded by Cazuza and sold 250,000 copies. Cazuza received the posthumous Sharp Award for best song with "Guinea Pigs of God".

Death

In October 1989, after four months of alternative treatment in São Paulo, Cazuza left again for Boston, where he was hospitalized until March 1990, returning to Rio de Janeiro. On July 7, 1990, Cazuza died at age 32 from septic shock caused by AIDS. The funeral was attended by more than a thousand people, including relatives, friends and fans. The coffin, covered with flowers and sealed, was taken to the grave by the former companions of the Red Baron. Cazuza was buried in the São João Batista cemetery, in Rio de Janeiro. On the marble top of the tomb appears the title of his latest big hit, "Time Doesn't Stop", and the dates of his birth and death. There is nothing on his headstone but his famous code name. The following year, the posthumous album Por Aí was released.

Legacy

Statue of Cazuza in Leblon, Rio de Janeiro

The style, vocal ability and work produced by Cazuza had a significant impact on Brazilian popular music. This earned him the title of one of the greatest male vocalists in contemporary music. Writing for the column Combate Rock no UOL, music critic Marcelo Moreira wrote that "In addition to the obvious quality of his texts and lyrics, what makes him the best singer in our rock was his irreverence and the ability to mock everyone, including to himself" Adding that "His own existence was the greatest legacy he left, making him a symbol of that pulsating and necessary Brazilian rock of the 80s. According to Rolling Stone Brasil magazine: "Cazuza lives in the memory of Brazilian music among legends about his passionate temper. But what guarantees posterity is the work that transcended the rock universe by approaching MPB with poetry that is always cutting on a razor's edge. A work marked by a paradoxically hopeful despair.” Singer and journalist Mona Gadelha wrote that Cazuza “made a time with speeches protesting against the ills of Brazil at the time, which are almost the same”, he compares. that in the lyrics, in the choice of themes. Cazuza believed a lot in what he wrote, without bothering to please. Rock, in addition to being a song, is a behavior, a critical attitude towards the world. Cazuza fulfilled this function very well with what he wrote”, he advances. The artist draws attention to the permanence of several of these verses in the popular language of the country. 'Secrets of a blender', 'a museum of great novelties', 'we invent our love'. for me, it's the true popular consecration, when the work transcends time and enters the everyday life of the language.” Singer Frejat said that “Cazuza promoted a revolution in Brazilian music”, for managing to unite Brazilian rock with MPB, as before his had the strong resistance on the part of the industry to this union. Cazuza is also credited for his critical and forceful lyrics, which questioned the Brazilian political system; Bruno Ribeiro from the Portal of the Partido Democrático Trabalhista commented: "songs like 'O Tempo Não Para' showed with their lyrics the reality of a prejudiced, problematic and, at the same time, revolutionary country. Between the lines, the message often turned into speech" . Francisco Fernandes Ladeira, from Observatório da Imprensa, described him as "The poet of Brazilian rock" and praised the songs “O Tempo Não Para”, “Brasil” and “Burguesia”, for “reflecting not only the anguish faced by the singer. But also reliably as was the Brazilian context in the late 1980s, a period marked by great political and economic instability." In October 2008, Rolling Stone magazine promoted the List of the One Hundred Greatest Artists of Brazilian Music, whose result placed Cazuza in 34th position. In just ten years of career, Cazuza left 126 songs recorded, 78 unreleased and 34 for other interpreters. Cazuza's songs have already been reinterpreted by the most diverse Brazilian artists from the most diverse musical genres. Som Livre performed the show Tributo a Cazuza, in 1999, later releasing on CD and DVD, which featured Ney Matogrosso, Barão Vermelho, Engenheiros do Hawaii, Kid Abelha, Zélia Duncan, Sandra de Sá, Arnaldo Antunes and Leoni. In 2000, the musical Casas de Cazuza, written and directed by Rodrigo Pitta, whose story is based on Cazuza's songs, was shown in Rio de Janeiro and São Paulo. In 2004 the biographical film Cazuza - O Tempo Não Para, by Sandra Werneck, was released. After her death, her parents founded Sociedade Viva Cazuza in 1990. Its intention is to provide a better life for HIV-positive children through health care, education and leisure. In 1997, singer Cássia Eller released the album Veneno AntiMonotonia, which only features compositions by Cazuza. Related Artists

Among several artists related to Cazuza are: Frejat, for having been a great friend and his main partner in musical compositions; Simone ("Time Doesn't Stop" and "Codename Hummingbird"); Leoni (with whom he wrote the biggest hit, "Exaggerated"); George Israel (with whom he composed "Brasil", "Solidão que nada" and 13 other songs); Leo Jaime (who introduced Cazuza to the band Barão Vermelho when it was already formed and in need of a vocalist to complete the band); Lobão, both for her friendship with Cazuza and for the influence of each other, for having been a great inspiration at the beginning of her career;[8] Cássia Eller for being the interpreter who recorded most of Cazuza's songs; Arnaldo Antunes for his outstanding influence; Bebel Gilberto for the friendship and partnership in some songs; Rita Lee, partner in the song "Perto do Fogo", last he wrote before he died and first she recorded on his 1990 album; Ney Matogrosso, a great friend, who directed him in the shows "Ideologia" and "O Tempo não Para"; and Renato Russo, for having twice honored Barão's friend and former vocalist (with the English song Feedback Song For a Dying Friend and with the re-recording ofQuando Eu Estiver Cantando in the show Viva Cazuza, in 1990).

Capital Inicial is a Brazilian rock band formed by the brothers Fê Lemos and Flávio Lemos in 1982, after the end of the activities of the group Aborto Elétrico, in which the brothers participated. The band is currently composed of four members: Fê Lemos (drums), Flávio Lemos (bass), Dinho Ouro Preto (vocals) and Yves Passarell (guitar), in addition to Robledo Silva (keyboards) and Fabiano Carelli (guitar), band of support. The band debuted in 1986 with their self-titled debut album.

Story

The beginning

In 1978, Fê Lemos returned from a stay in England to Brasília, where his father taught at the University of Brasília (UnB). He joined a group of young punk rock fans from the set of four buildings, dubbed "Turma da Colina", which included Renato Russo. The two and the South African André Pretorius founded the band Aborto Elétrico, with Renato on bass, André on guitar and Fê on drums. The band didn't have anyone on vocals. Pretorius had to return to South Africa to do his military service, so Renato became guitarist and singer, while Fê's brother Flávio Lemos took over the bass. The band soon became one of the most popular in Brasília, and one of their biggest fans was Dinho Ouro Preto, an old friend of Renato's who attended every show. Emergence of the band (1983-1985)

In 1983, Fê and Renato fell out, causing the singer's departure and the extinction of the Electric Abortion. The Lemos brothers called on former Blitx 64 guitarist Loro Jones and a singer, Heloísa, to form another band, Capital Inicial. After a month playing in a theater of the Associação Brasiliense de Odontologia with Plebe Rude and Renato's new band, Legião Urbana, under pressure from her parents, Heloísa leaves the band. The Lemos audition for a new singer, and Dinho Ouro Preto took over. Dinho insisted that the band include songs from Aborto in the repertoire, and later called on Renato to complete the lyrics for "Música Urbana", which would become one of Capital's first hits. Dinho and Jones had previously played together in the band Dado eo Reino Animal, which included future Legião Dado members Villa-Lobos and Marcelo Bonfá. Three months later, in July 1983, they debuted with a show at Unb, then playing in São Paulo (SESC Pompeia) and in Rio de Janeiro (Circo Voador). The band goes on constant trips and presentations on the main stages of the Brazilian rock underground. In 1984, the increasing pace of travel indicates the need to be closer to their main market, the Southeast and South regions. At the end of the year, they signed their first phonographic contract, with CBS (now Sony), and moved to São Paulo in early 1985. Soon after, they released their first record on vinyl, the double single Descendo o Rio Nilo/Leve Desespero. This year they are also part of the soundtrack of the first Brazilian "rock film", Areias Escaldantes, by Francisco de Paula, alongside Ultraje a Rigor, Titãs, Lobão e os Ronaldos, Ira!, Metrô, Lulu Santos and May East .

first discs

The first LP, Capital Inicial, already by Polygram, was released in 1986 and received great reviews. "A clean, vigorous, danceable and above all competent rock, miles away from the sameness that has assaulted Brazilian pop music in recent times", is how journalist Mário Nery opens his criticism of the record in Folha de S.Paulo.[6] The album featured tracks such as "Música Urbana", "Psicopata", "Fátima", "Veraneio Vascaína", "Leve Desespero" among others. In 1987, with the keyboardist Bozzo Barretti in its formation, Capital Inicial released its second album, Independência, recording "Prova", "Independência" and the re-recording of "Descendo o Rio Nilo".

That year, he was invited to open the concerts for the English singer Sting's tour in São Paulo (parking at Anhembi), Rio de Janeiro at Maracanã, Belo Horizonte at Independência Stadium, Brasília at Mané Garrincha Stadium and Porto Alegre at Olímpico Monumental Stadium. You don't Need to Understand hit stores across the country in 1988, with "A Portas Fechadas", "Pedra Na Mão" and "Fire". 1989 marks the release of the album Todos os Lados, with the tracks "All Sides", "Mickey Mouse in Moscow" and "Belos e Malditos". In 1990 they participated in the Hollywood Rock festival, held in São Paulo and Rio de Janeiro. The album Eletricidade, released in 1991, marks the beginning of changes in Capital Inicial, starting with the label. The album, released by BMG, featured a version of "The Passenger", by Iggy Pop, dubbed "O Passageiro", and compositions such as "Cai a Noite", "Kamikaze" and "Todas as Noites". That same year, they participated in the second edition of the Rock in Rio festival. The video "O Passageiro" was recorded using a PXL-2000 camera that stored black and white images on an audio cassette tape.

Disagreements

In 1992, Bozzo Barretti left the group, and in 1993, musical and personal differences led vocalist Dinho Ouro Preto to pursue a solo career. Meanwhile, Capital Inicial, now with Santos Murilo Lima (ex-band Rúcula) on vocals, released Rua 47 in 1995. In 1996, the band released Capital Inicial Ao Vivo, the first by Qualé Cumpadi Records, an independent label that the band mounts, and the second by Rede Brasil Discos, currently Alpha Discos.

The return of initial capital

In March 1998 in São Paulo, after the release, by Polygram, of the album O Melhor do Capital Inicial, the four original members decided to return to the stage. Dinho Ouro Preto, Loro Jones, Fê Lemos and Flávio Lemos are back on the road with a new show, a celebration of the band's 15th anniversary and the 20th anniversary of the birth of rock candango. The repertoire features hits, little-known tracks and compositions by bands that were part of the Brasília scene in the 80s, such as Plebe Rude and Legião Urbana.

In July of the same year, the band signed with Abril Music, and in September headed to Nashville, Tennessee, USA, where they recorded Atrás dos Olhos. This record is produced by David Zá, who among others has worked with artists such as Prince, Billy Idol and Fine Young Cannibals. This same year of 1998 also sees the release of two more compilations by Universal (ex-PolyGram): an album from the Millennium series, with twenty songs taken from the first four albums, and an album of songs from the group remixed by famous producers and DJs of the Brazil.

The year 1999 is dedicated to the Brazilian tour. The idea of making a live album comes up, bringing together new and old hits. This idea quickly turns into an acoustic album project, in partnership with MTV Brasil. The last year of the 20th century begins with the band preparing for the recording of MTV Acoustic, which ends up taking place in March with the participation of singer-songwriter Kiko Zambianchi. The disc is released on May 26th. Acústico MTV - Capital Inicial was a great commercial success (3× certified platinum by the ABPD), marking the band's resurgence. audience of 250 thousand people. In February 2002, Loro Jones left the band. The guitarist complained about the excess of time working, with more than 150 shows in the decade that had just started, and the aggravating factor of the fact that, unlike his bandmates, Jones still resided in Brasília, leading him to constant commutes to São Paulo. Yves Passarell, from the band Viper, took over.

Recently

The album Eu Never Said Adeus was released in 2007, with the first single "Eu Never Said Adeus". In 2008, he released the live album Multishow ao Vivo: Capital Inicial in Brasília to celebrate 25 years of his career. The album was recorded in Brasília, at the Esplanada dos Ministérios, on April 21, the city's anniversary and had more than 1 million people in the audience. Guest musicians Robledo Silva and Fabiano Carelli participated in the show. The first working song on the album was "Algum Dia", and the second "Dançando com a Lua".

Show of the Initial Capital in 2015

On Saturday, October 31, 2009, the band was playing a show in Patos de Minas, Minas Gerais, when Dinho Ouro Preto fell three meters from the stage. Dinho suffered mild head trauma and a rib fracture; and after five days of hospitalization, the singer returned to the ICU because of an infection. On November 30, Dinho left the hospital, after nearly a month in the hospital. After leaving the hospital Dinho and the band members entered the studio to record the fifteenth album by the group Das Kapital. The album has some songs that tell a little of the drama experienced by Dinho. Released on June 2, 2010, the album's first single was "Depois da Meia Noite", released to radio stations throughout Brazil, and then "Como se Sente", "Vivendo e Aprendendo" and "Vamos Comemarar" by request of the fans. According to Dinho, Das Kapital marks the beginning of a third phase of Capital, after the initial and the return, "of records that are more like us, with the kind of sound we like". The band also played at Rock in Rio 2011, on September 24th, opening the show for the Californians of the Red Hot Chili Peppers.

On December 10, 2012, they release a new album, Saturno. The album was produced by David Corcos, and contains 13 tracks, including the singles "O Lado Escuro da Lua" and "Saquear Brasília". The following year they are confirmed at Rock in Rio 2013, on September 14th, the same day as the band Muse.

In 2015, Capital Inicial decided to record a second acoustic album in New York. Acústico NYC had most of its repertoire songs recorded after Acústico MTV, apart from three new compositions, an 80's song ("Belos e malditos") and covers by Legião Urbana and Charlie Brown Jr. Lenine and Seu Jorge made cameo appearances , and the guitars had the additions of producer Liminha and ex-Charlie Brown Thiago Castanho.

At a concert in Manaus, on 15/04/2016, Dinho commented on the participation of musician Lenine in the album.

"When we invited Lenine, we thought he would want to play our more complicated songs. But it was exactly the opposite, right on our first meeting he asked to sing some of our most popular songs," revealed Dinho, referring to "Don't look back" and "Lost time" by the Urban Legion.

In 2017, in full tour of the acoustic NYC, the band prepared an electric show with a setlist going through all phases of the three decades of career, invested in pyrotechnics and visual art on the screens, to perform at the 7th edition of Rock in Rio, the show had the participation of Thiago Castanho (Ex Guitarist of Charlie Brown Jr). The band's performance was voted the best national show at Rock in Rio 2017.

On April 10, 2018, the band entered the studio and is currently recording a new unreleased album whose release will be "parceled" where the band will release one unreleased song per month, totaling 12 unreleased songs that will be released digitally and later media physics. On May 25, 2018, the band released the newest single "Don't look at me thus" on all radio stations in the country, the first work released from the new album entitled "Sonora" produced by Lucas Silveira of the band Fresno. In June, Capital Inicial will start the new tour "Sonora" starting in Rio de Janeiro - RJ.

Members

current formation

Dinho Ouro Preto - vocal, guitar and guitar (1982-1993, 1998 - present)

Fê Lemos - battery (1982 - present)

Flávio Lemos - bass (1982 - present)

Yves Passarell - guitar and acoustic guitar (2002 - present)

Among many artists also stand out great singers of Brazilian popular music that have a large role in Brazilian cultural history as bousa nova and MPB that are featured great musicians who make the best songs and musical lyrics that will follow the best:

Dorival Caymmi (Salvador, April 30, 1914 – Rio de Janeiro, August 16, 2008) was a Brazilian singer, composer, instrumentalist, poet, painter and actor.

He composed inspired by the habits, customs and traditions of the Bahian people. With a strong influence on black music, he developed a personal style of composing and singing, showing spontaneity in the verses, sensuality and melodic richness.

Popular poet, he composed works such as Saudade da Bahia, Samba da Minha Terra, Doralice, Marina, Modinha for Gabriela, Maracangalha, Saudade de Itapuã, O Dengo que a Nega Tem, A Lenda do Abaeté and Rosa Morena.

Son of Dorival Henrique Caymmi and Aurelina Soares Caymmi, he was married to Adelaide Tostes, with whom he had his three children: Nana, Dori and Danilo, who are also singers, as well as their granddaughters Juliana and Alice.

He died on August 16, 2008, aged 94, at home, at six o'clock in the morning, due to kidney failure and multiple organ failure, as a result of a kidney cancer that he had had for nine years. She had been in home care since December 2007.

He was of Italian descent on his father's side, the generations in Bahia began with his great-grandfather, who arrived in Brazil to work on the repair of Elevador Lacerda. As a child, he began his activity as a musician, listening to relatives at the piano. His father was a civil servant and amateur musician, he played, in addition to piano, guitar and mandolin. The mother, a housewife, mixed Portuguese and African, sang only at home. Listening to the phonograph and then the phonograph, his desire to compose grew. He sang, as a boy, in a church choir, as a bass singer. At the age of thirteen, he interrupts his studies and starts working in an editorial office for the newspaper O Imparcial, as an assistant. With the newspaper's closing in 1929, he became a liquor salesman. In 1930 he wrote his first song: "No Sertão", and at the age of twenty he made his debut as a singer and guitarist in programs on Rádio Clube da Bahia. In 1935, he started to present the musical Caymmi e Suas Canções Praieiras. At the age of 22, he won, as a composer, the carnival music contest with the samba A Bahia also gives. Gilberto Martins, a director of Rádio Clube da Bahia, encourages him to pursue a career in the south of the country. In April 1938, at the age of 23, Dorival travels by ita (ship that crosses the north to the south of Brazil) to the city of Rio de Janeiro, to get a job as a journalist and take a preparatory course in Law. With the help of relatives and friends, he did some small jobs in the press, working in O Jornal, of the Diários Associados group, even so, he continued to compose and sing. At that time, he met Carlos Lacerda and Samuel Wainer.

Dorival Caymmi, 1956. National Archives.

He was introduced to the director of Rádio Tupi, and, on June 24, 1938, he made his radio debut singing two compositions, although he was not yet under contract. He did well as a freshman and started singing two days a week, in addition to participating in the Dragão da Rua Larga program. In this program, she performed O que é que a Baiana Tem?, composed in 1938. With the song, she made Carmen Miranda have a career abroad, from the 1938 film Banana da Terra. Her work mainly invokes the tragedy of blacks and fishermen of Bahia: The Sea, Fishermen's History It's Sweet to Die at Sea, A Jangada Return Only, Canoeiro, Fishing, among others. Son of a saint of Mãe Menininha do Gantois, for whom he wrote the song in 1972 in her honor: "Oração de Mãe Menininha", recorded by great names such as Gal Costa and Maria Bethânia.

In the 1970s, his song "Suíte do Pescador" became widely known in the Soviet Union after composing the soundtrack for the film "Capitães da Areia", based on the work of Jorge Amado, which was hugely successful in the country.

In 1986, the Estação Primeira de Mangueira Samba School presented the plot "Caymmi shows the world what Bahia and Mangueira have". In this parade, with a beautiful samba, Estação Primeira de Mangueira won the main title of the Carioca Carnival. In 2014 he was honored by the Águia de Ouro Samba School, which presented the plot: "A Velha Bahia presents the centenary of the songwriter poet Dorival Caymmi" honoring the centenary of Dorival Caymmi. The school finished in third place, the same position as the previous year.

Construction

Dorival Caymmi in a photo from 1938.

In Caymmi's compositions (Maracangalha, 1956; Saudade de Bahia, 1957), Bahia appears as an exotic place with a typical discourse that was established in the first decades of the 20th century, with references to African culture, food, dances, to clothing, and especially to religion.

Caymmi on Rádio Nacional, in 1938.

Background

With the First World War, an anonymously authored lundu, with the name of "A Farofa", deals not only with the conflict but also with oil palm and vatapá, in the song "O Vatapá". Composer José Luís, nicknamed Caninha, used, in 1921, the word balangandã, in the samba "Quem vem ago closes the door". Bahian cuisine was enshrined in the maxixe "Cristo was born in Bahia", released in 1926. At the end of the 1920s, he associates Bahia with the woman who sways, wiggles, wobbles, shuffles and moves the chairs when she is dancing samba, which is surprising in the linguistic, since the author was not a native of Brazil.

Success

The first big hit "What does the Bahian woman have?" sung by Carmen Miranda in 1939 not only marks the beginning of the international career of Pequena Remarkable dressed as a Bahian, but also influenced popular music within Brazil, it became known to the point of being imitated and parodied, as in the choro "O que é that the Bahian girl has?" by Pedro Caetano and Joel de Almeida or in the song "A baiana says que tem" by Felipe Colognezi. Despite previous productions, Caymmi's compositions are the most remembered about Bahian culture.

Death

On August 16, 2008, aged 94, Caymmi died in his apartment on Avenida Nossa Senhora de Copacabana, in the Copacabana neighborhood, from kidney failure due to cancer that had accompanied him since 1999.

His body was veiled in the City Council of Rio de Janeiro, in the center of Rio de Janeiro. Caymmi was buried the following day at São João Batista Cemetery, in the Botafogo neighborhood, with the presence of his children and personalities such as Othon Bastos, Gilberto Gil, Gilberto Braga, João Ubaldo Ribeiro, Daniela Mercury, Wagner Tiso, Glória Perez and the Mayor of Rio, Cesar Maia (DEM).

In his honor, the Governor of Bahia, Jaques Wagner (PT) and the Governor of Rio de Janeiro, Sérgio Cabral Filho (PMDB), declared official mourning for three days in their states. The then President of the Republic, Lula (PT), wrote a note of regret in honor of the musician: "Dorival Caymmi is one of the founders of Brazilian popular music, patriarch of a lineage of talented musicians. His praieiras songs and his samba-canção are national cultural heritage Shined and innovated as a composer, musician and singer His music is a complete translation of Bahia It was with sadness that I received the news of his death My sincere condolences to his wife Stella Maris and his children - Nana , Dori and Danilo. His work will always remain alive in the memory of Brazilians, enlightening everyone with the grace and joy of his songs"

Francisco Buarque de Hollanda OMC • ComIH, better known as Chico Buarque (Rio de Janeiro, June 19, 1944), is a Brazilian musician, playwright, writer and actor. He is known for being one of the biggest names in Brazilian popular music (MPB). His discography has approximately eighty records, including solo records, in partnership with other musicians and compacts.

He wrote his first short story at the age of 18, gaining prominence as a singer in 1966, when he released his first album, Chico Buarque de Hollanda, and won the Brazilian Popular Music Festival with the song A Banda.[5][6][7 ] He self-exiled in Italy in 1969, due to the growing repression of the Brazilian military regime in the so-called "years of lead", becoming, upon returning in 1970, one of the most active artists in political criticism and in the struggle for democratization in the country . In 1971, Construction was released, considered by critics as one of his best works, and in 1976, Meus Caros Amigos - both albums appear, for example, in the list of the 100 greatest albums of Brazilian music organized by Rolling Stone Brasil magazine.

In addition to his notability as a musician, he developed a literary career over the years, authoring plays and novels. He won three Jabuti Awards: Best novel in 1992 with Estorvo and Book of the Year, both for the book Budapest, released in 2004, and for Leite Derramado, in 2010. In 2019, he was distinguished with the Camões Award, the main literary trophy in the Portuguese language, for the work as a whole.

The grandson of Cristóvão Buarque de Hollanda and son of Sérgio Buarque de Hollanda and Maria Amélia Cesário Alvim, Chico is the brother of singers Miúcha, Ana de Hollanda and Cristina.[9] He was married for 33 years (from 1966 to 1999) to actress Marieta Severo, with whom he had three daughters, Sílvia Buarque, Helena and Luísa.

Biography

Francisco Buarque de Hollanda was born on June 19, 1944 in the city of Rio de Janeiro, son of Sérgio Buarque de Hollanda (1902–1982), an important Brazilian historian and journalist, and Maria Amélia Cesário Alvim (1910–2010), painter and pianist. He married Marieta Severo in 1966, with whom he had three daughters: Sílvia Buarque, Luísa Buarque and Helena Buarque. The singer also has five grandchildren. Chico is the brother of singers Miúcha, Ana de Hollanda and Cristina Buarque. Contrary to popular belief, dictionary writer Aurélio Buarque de Holanda was just a distant cousin of his father. In the first verses of his song "Paratodos", Chico Buarque celebrates his family ancestors: My father was from São Paulo / My grandfather, from Pernambuco / My great-grandfather, from Minas Gerais / My great-great-grandfather, from Bahia. The "grandfather of Pernambuco" to which the singer refers was paternal: Cristóvão Buarque de Hollanda. The "great-grandfather from Minas Gerais", Cesário Alvim, and the "great-grandfather from Bahia", Eulálio da Costa Carvalho, were on the maternal side.

In 1946, he moved to São Paulo, where his father took over the direction of the Ipiranga Museum. Chico has always shown interest in music, such interest was greatly reinforced by his coexistence with intellectuals such as Vinicius de Moraes and Paulo Vanzolini.

In 1953, Sérgio Buarque de Hollanda, father of the singer, was invited to teach at the University of Rome. The Buarque de Hollanda family then moved to Italy. Chico learns two foreign languages, at school he speaks English, and on the streets, Italian. At that time, he composed his first Carnival songs.

Chico returned to Brazil in 1960. The following year, he produced his first chronicles for the newspaper Verbâmidas, at Colégio Santa Cruz de São Paulo, the name he created. His first appearance in the press, however, was not related to his work, but a policeman. Published, in the newspaper Última Hora, of São Paulo, the news that Chico and a friend stole a car near the Pacaembu stadium to stroll through the dawn of São Paulo was announced with the headline "Pivetes stole a car: arrested".

On March 25, 1996, he was awarded the degree of Commander of the Order of Infante D. Henrique, from Portugal.

In 1998, the artist was honored in the Parade of Samba Schools in Rio de Janeiro, by GRES Estação Primeira de Mangueira, in the plot "Chico Buarque da Mangueira". The green and pink school shared the title of champion of that carnival with Beija-Flor de Nilópolis.[18][19]

In 2015, he participated in the song "Trono de Estudar", composed by Dani Black in support of students who articulated against the school reorganization project of the state government of São Paulo. The track featured 17 other Brazilian artists: Arnaldo Antunes (ex-Titãs), Tiê, Dado Villa-Lobos (Legão Urbana), Paulo Miklos (Titãs), Tiago Iorc, Lucas Silveira (Fresno), Filipe Catto, Zélia Duncan , Pedro Luís (Pedro Luís & A Parede), Fernando Anitelli (O Teatro Mágico), André Whoong, Lucas Santtana, Miranda Kassin, Tetê Espíndola, Helio Flanders (Vanguart), Felipe Roseno and Xuxa Levy.

start of career

Chico Buarque appears on TV Rio, in 1967.

Chico Buarque even enrolled in the Architecture course at the Faculty of Architecture and Urbanism (FAU) of the University of São Paulo (USP) in 1963. He studied for two years and stopped in 1965, when he began dedicating himself to an artistic career. That year, he released Sonho de um Carnaval, inscribed at the 1st National Festival of Brazilian Popular Music, broadcast by TV Excelsior, in addition to Pedro Pedreiro, fundamental music for experimenting with the way he would work the verses, with rigorous morphological stylistic work and politicization, more significantly in the 1970s. Chico's first composition was at the age of 15, Canção dos Olhos (1959). The first recording was also a marchinha, "Marcha para um dia de sol", recorded by Maricene Costa, in 1964.

He met Elis Regina, who had won the Brazilian Popular Music Festival (1965) with the song Arrastão, but the singer ended up giving up on recording it due to her impatience with the composer's shyness. Chico Buarque revealed himself to the Brazilian public when he won the same Festival, the following year (1966), broadcast by TV Record, with A Banda, interpreted by Nara Leão (tied for first place with Disparada, by Geraldo Vandré, interpreted by Jair Rodrigues ). However, Zuza Homem de Mello, in the book The Age of Festivals: A Parable, revealed that "A Banda" won the festival. The musicologist preserved the festival's voting sheets for decades. In them, it is said that the song "A Banda" won the competition by 7 to 5. Chico, realizing that he would win, went to the chairman of the commission and said he would not accept Disparada's defeat. If that happened, he would immediately deliver the prize to the competitor.

On October 10, 1966, the date of the final, began the process that would designate Chico Buarque as national unanimity, a nickname created by Millôr Fernandes.

Songs like Ela e sua Janela, from 1966, begin to demonstrate the composer's lyrical face. With the observation of society, as in the several times in which the word window is quoted in his first songs: Juca, Januária, Carolina, A Banda and Madalena went to Mar. The influences of Noel Rosa can be noticed in A Rita, 1965 , cited in the lyrics, and Ismael Silva, as in ranch marches.

MPB Festivals in the 1960s

Tom Jobim and Chico Buarque at the Festival Internacional da Canção (FIC), 1968.

At the 1967 festival, he would also be successful with Roda Viva, played by him and by the group MPB-4 — friends and interpreters of many of his songs. In 1968, he won again another Festival, the III Festival Internacional da Canção on TV Globo. As a composer, in partnership with Tom Jobim, with the song Sabiá. But this time, the victory was contested by the audience, who preferred the song that came in second place: Not to say that I didn't talk about flowers, by Geraldo Vandré.

Participation in the Festival, with A Banda, marked the first public appearance of great repercussion, presenting a style supported by the urban musical movement of Bossa Nova, which emerged in 1957. Throughout his career, samba and MPB would be styles that were widely explored.

Soundtrack and book adaptations

Chico participated as an actor and composed several hit songs for the film Quem o Carnaval Chegar and was musical director of Joanna Francesa with Roberto Menescal, with whom he composed the theme song, both films directed by Cacá Diegues. He composed the theme song for the feature film Vagabundo, by Hugo Carvana — Carvana even modified the script in order to use it better. I would do the same with the following films by this director: Se Holds Malandro and Vai Work Vagabond II. He adapted songs from a children's play for the film Os Saltimbancos Trapalhões by the humor group Os Trapalhões and with interpretations by Lucinha Lins. Other adaptations of his homonymous play were made for the film Ópera do Malandro, another cinematic musical. Several films that had theme songs of his own and were very successful in addition to those mentioned: Bye Bye Brasil, Dona Flor and her two husbands and Eu te amo, the last two with Sônia Braga. He recently came to have a cameo as an actor in the movie Ed Mort. He wrote a book that became a film, Benjamim, which aired in theaters in 2003, with the main characters Cleo Pires, Danton Melo and Paulo José as interpreters.[25]

In May 2009, the film Budapest was released, based on a book of the same name by Chico Buarque. In the film, there is also a cameo by the writer.

theater and literature

Chico Buarque performs in 1970.

He played the plays Morte e vida severina and the children's Os Saltimbancos. He also wrote several plays, including Roda Viva (prohibited), Gota d'Água, Calabar (prohibited), Ópera do malandro and five books: Estorvo, Benjamim, Budapest, Leite Derramado and O Irmão Alemão.

Chico Buarque has always stood out as a columnist in high school; his first book was published in 1966, bringing the manuscripts of his first compositions and the short story Ulisses, as well as a chronicle by Carlos Drummond de Andrade about A Banda. In 1974, he wrote the livestock novel Fazenda Modelo and, in 1979, Chapeuzinho Amarelo, a book-poem for children. Aboard Rui Barbosa was written in 1963 or 1964 and published in 1981. In 1991, he published the novel Estorvo (winner of the Jabuti Prize for best novel in 1992) and, four years later, he wrote the book Benjamim. In 2004, the novel Budapest wins the Jabuti Prize for Book of the Year In 2009, it launched the book Leite Derramado, which also received the Jabuti Prize for Book of the Year. In 2016, the premiere of the theatrical version of this novel by Club Noir, starring Helena Ignez and Luiz Päetow. Officially, the minimum sale of his books is 500 thousand copies in Brazil.

Controversy about the Jabuti Award

Both Budapest and Spilled Milk won the Jabuti Award for Yearbook without having won the same award in the Best Novel category. Budapest was third place in the 2004 Best Novel Awards, while Spilled Milk had been second in 2010. After the 2010 choice, many criticisms were made of the form of the award, given that, in the category awards, the The jury would be composed of specialists, and in the Year Book awards, the vote would represent the will of the sector's entrepreneurs. The top three winners in each category competed for the final prize, for Book of the Year. An online petition, entitled "Chico, give back the Jabuti!", collected thousands of signatures. The publisher Record (which published Edney Silvestre's If I Close Eyes Now, winner in the best novel category and passed over in the final vote) criticized the award's regulations, claiming that it would favor people with great media penetration and would be disrespectful to the jury specialized and with the authors themselves, announcing that they would no longer register candidates for the award. With the controversy, it was announced that in 2011 only the winners of each category would compete for the final award.

television programs

He stopped participating in popular television programs, having problems with TV Excelsior, during the rehearsal for the Chacrinha program, in which one of the producers would have made a joke with the lyrics of the song Pedro Pedreiro: "This train can't get here anymore early, no?" - referring to the length of the letter of sixty verses. Annoyed, Chico left and never appeared on the show. The executive Boni banned any reference to Chico during TV Globo's programming, after they both also had an affair, but for a short time, since even during the 1970s (and the beginning of the 1980s) his songs were included in the soundtracks. from several soap operas, such as Espelho Mágico and Sétimo Sentido. At the end of the ban several years later, Chico agreed to make a program with Caetano Veloso, which included the participation of other artists.

Criticism of the Military Dictatorship of Brazil

Opinion of the Censorship of the Music Women of Athens by the Public Entertainment Censorship Service in 1976.

Opinion of the Censorship recommending the prohibition of the song "Partido Alto", by Chico Buarque.

Threatened by the military regime, he was self-exiled in Italy in 1969, where he even performed with Toquinho. At that time, his songs Despite you (which are said to be a negative allusion to President Emílio Garrastazu Médici, but which Chico maintains are in reference to the situation) and "Cálice" were banned by the Brazilian censorship. He adopted the pseudonym Julinho da Adelaide, with which he composed only three songs: Milagre Brasileiro, Acorda amor and Jorge Maravilha. In Italy, Chico became friends with the singer Lucio Dalla, for whom he made Minha História, a Portuguese version (1970) of the song Gesù Bambino (true title 4 marzo 1943), by Lucio Dalla and Paola Palotino.

Upon returning to Brazil, he continued with compositions that denounced social, economic and cultural aspects, such as the famous Construction or the fun Party Alto. He performed with Caetano Veloso (who was also exiled, but in England) and Maria Bethânia. There was another of his songs associated with criticism of a president of Brazil. Julinho da Adelaide, by the way, was not just a pseudonym, but the way the composer found to circumvent censorship, then implacable when he noticed his name in the credits of a song. To complete the farce and give it an air of veracity, Julinho da Adelaide even had an identity card and even granted an interview to a newspaper at the time.

One of Chico Buarque's songs that criticize the regime is a letter in the form of music, a letter made to music that he wrote in honor of Augusto Boal, who lived in exile, when Brazil was still under military rule. The song is called Meu Caro Amigo and was addressed to Boal, who at the time was exiled in Lisbon. The song was originally released on a record with an almost identical title, called Meus Caros Amigos, dating back to 1976.

Northeast already

Still taking advantage of the lode engaged after the military regime, he sang, albeit with a small individual participation, in the choir of the Brazilian version of We Are the World, the American hit that brought together voices and raised funds for USA for Africa. The collective creation project on the poem by Patativa do Assaré, Nordeste already (1985) in support of the cause of the Northeastern drought, uniting 155 voices in a single with the songs Chega de mágoa and Seca d'água.

genealogy and kinship

Francisco Buarque de Hollanda's father, Sérgio Buarque de Hollanda, is a first cousin of Aurélio Buarque de Hollanda Ferreira's mother, Maria Buarque Cavalcanti Accioly Lins, both being grandchildren of Manuel Buarque de Gusmão Lima. Aurélio Buarque de Hollanda Ferreira's maternal grandmother, Luísa Buarque de Hollanda Cavalcanti, is the sister of Francisco Buarque de Hollanda's paternal grandfather, Cristóvão Buarque de Hollanda. A partial genealogy,

Manuel Buarque de Gusmão Lima cc Maria Magdalena Pais de Hollanda Cavalcanti (Pais Barreto)

Luísa Buarque de Hollanda Cavalcanti cc Berino Justiniano Accioly Lins

Maria Buarque Cavalcanti Accioly Lins cc Manuel Hermelindo Ferreira

Aurélio Buarque de Hollanda Ferreira

José Luís Pais Barreto Buarque

Cristóvão Buarque de Hollanda cc Heloísa de Araújo

Sergio Buarque de Hollanda

Francisco Buarque de Hollanda

the female "I"

Chico Buarque, Geraldo Azevedo and Elba Ramalho in a 1980 photo.

Compositions that were notable for the decantation of a female "lyrical self", portraying themes from the point of view of women with remarkable poetry and beauty: this style is adapted in Com Sugar, with affection written for Nara Leão; continued in this line with beautiful songs such as Olhos nos Olhos and Teresinha, recorded by Maria Bethânia, Atrás da Porta, interpreted by Elis Regina, and Folhetim, with Gal Costa, Iolanda (adapted version of original lyrics by Pablo Milanés), in a duet with Simone , Anos Dourados – a classic made in partnership with Tom Jobim for the miniseries of the same name and "O Meu Amor" for the play "Ópera do Malandro" performed by Marieta Severo, Cristina Branco and Elba Ramalho. also "Woman's Word".

Interpreters by Chico Buarque

Chico Buarque with musician Henrique Mann, in the mid-1980s.

The singer never refused to offer original compositions to his singing friends. Many of these now have definitive versions in other voices. In addition to the aforementioned songs of Chico's feminine "eu", we have the example of Elis Regina's performance in the song Atrás da Porta and O cio da terra, with recordings by Milton Nascimento and the rural duo Pena Branca & Xavantinho. There are also interpretations by Oswaldo Montenegro, who, in 1993, released the album Seu Francisco, produced by Hermínio Bello de Carvalho, and Ney Matogrosso, who, in 1996, released Um Brasileiro. That same year, samba dancer João Nogueira, in partnership with conductor Marinho Boffa, recorded the album "Chico Buarque, Letra & Música", with 14 songs that marked the singer's career.

It is also worth mentioning his success in other compositions he made for popular singers who were not in the spotlight, as in the cases of Ângela Maria, who recorded Gente Humilde, and Cauby Peixoto com Bastidores. Among the artists who re-recorded their songs in popular style, we can also mention Rolando Boldrin, who re-released Minha História, and the band Engenheiros do Hawaii, which, in 2000, recordedQuando o Carnaval Chegar, on the album 10 000 Destinos.

Partners

From a very young age, Chico gained critical and public recognition as soon as the first works were presented. Throughout his career, he worked as a composer and interpreter for several of the greatest MPB artists such as Tom Jobim, Vinícius de Moraes, Toquinho, Milton Nascimento, Ruy Guerra and Caetano Veloso. The most constant partners are Francis Hime and Edu Lobo.

theatrical work

The singer, honored by Mangueira, during the 1998 Parade of Samba Schools in Rio de Janeiro at the Sambódromo da Marquês de Sapucaí.

In 1965, at the request of Roberto Freire, director of the Theater of the Pontifical Catholic University of São Paulo (TUCA), at the Pontifical Catholic University of São Paulo (PUC-SP), Chico set to music the poem Morte e Vida Severina by João Cabral de Melo Neto , for assembling the part. Since then, his presence in Brazilian theater has been constant:

live wheel

The play Roda viva was written by Chico Buarque at the end of 1967 and premiered in Rio de Janeiro, at the beginning of 1968, under the direction of José Celso Martinez Corrêa, with Marieta Severo, Heleno Pests and Antônio Pedro in the main roles. The season in Rio was a success, but the work became a symbol of resistance against the military regime during the season of the second production, with Marília Pêra and Rodrigo Santiago. A group of around 110 people from the Communist Hunting Command (CCC) invaded the Teatro Galpão, in São Paulo, in July of that year, beat up artists and depredated the scene. The next day, Chico Buarque was in the audience to support the group and an organized movement in defense of Roda viva and against censorship on Brazilian stages began. Chico said in the documentary Bastidores, that there may have been a mistake, and that the play that the command was supposed to invade was taking place in another space in the theater.

Calabar

Calabar: o Elogio da Traição, was written at the end of 1973, in partnership with filmmaker Ruy Guerra and directed by Fernando Peixoto. The play relativizes the position of Domingos Fernandes Calabar in the historical episode in which he preferred to take sides with the Dutch against the Portuguese crown. It was one of the most expensive theatrical productions at the time, costing around $30,000 and employing over 80 people. As always, the military regime's censorship should approve and release the work in an essay specially dedicated to this. After all the assembly was ready and the first release of the text, there was a wait for the final approval. There were three months of anticipation and, on October 20, 1974, General Antônio Bandeira, from the Federal Police, for no apparent reason, banned the play, banned the name "Calabar" and banned the ban from being publicized. The damage for the authors and for the actor Fernando Torres, producers of the montage, was enormous. Six years later, a new montage would debut, this time released by the censors.

water drop

In 1975, Chico wrote the play Gota d'Água with Paulo Pontes, based on a project by Oduvaldo Viana Filho, who had already made an adaptation of Medeia, by Eurípedes, for television. The urban tragedy, in the form of a poem with more than four thousand verses, has as a backdrop the hardships suffered by the residents of a housing complex, Vila do Meio-dia, and, in the center, the relationship between Joana and Jasão, a popular composer co-opted by powerful businessman Creon. Jasão ends up leaving Joana and her two children to marry Alma, the entrepreneur's daughter. The first production had Bibi Ferreira in the role of Joana and the direction of Gianni Ratto. Luiz Linhares was one of the actors in that first production.

rogue opera

Main article: Trickster's Opera

The text of Trickster's Opera is based on John Gay's Opera of the Beggars (1728) and Threepenny Opera (1928) by Bertolt Brecht and Kurt Weill. The work started from an analysis of these two pieces conducted by Luís Antônio Martinez Corrêa and which had the collaboration of Maurício Sette, Marieta Severo, Rita Murtinho and Carlos Gregório. The team also cooperated in the completion of the final text through readings, criticisms and suggestions. At this stage of the work, the films Ópera de Trespents, by Pabst, and Getúlio Vargas, by Ana Carolina, the studies by Bernard Dort Theater and its reality, the memories of Madame Satã, as well as the friendship and testimony of Great Othello. Professor Manuel Maurício de Albuquerque also participated for a better understanding of the different historical moments in which the three operas take place. Professor Werneck Viana later contributed with very enlightening observations. And Maurício Arraes joined the group, already in the stage of transposing the text to the stage. The piece is dedicated to the memory of Paulo Pontes.

The Great Mystic Circus

Main article: The Great Mystic Circus

Inspired by the poem by the modernist Jorge de Lima, Chico and Edu Lobo together composed the soundtrack for this show specially created for the Balé Teatro Guaíra, from Curitiba, which premiered on March 17, 1983. During the next two years, they traveled the country presenting what was one of the biggest and most complete shows ever performed. A collective album was released by Som Livre to record the work, with interpretations by big names in MPB.

Djavan Caetano Viana (Maceió, January 27, 1949) is a Brazilian singer, composer, arranger, music producer, entrepreneur and guitarist.

Djavan mixes numerous styles, including jazz, blues, samba and flamenco music. Among his best known songs, stand out: "Sina", "Flor de Lis", "Lilac", "Pétala", "Se…", "Nem Um Dia", "Eu Te Devoro", "Oceano", " Açaí", "Samurai" and "Meu Bem Querer".

Biography

1949-1973: The beginning

Djavan is the son of a black mother named Virginia and a white father who worked as a street vendor. His mother, a laundress, sang songs by Ângela Maria, Dalva de Oliveira and Orlando Silva.[1] Djavan narrowly missed becoming a football player. Between 11 and 12 years old, he divided his time and his passion between playing ball in the floodplains of Maceió and the quadraphonic sound equipment at the home of Dr. Ismar Gatto, father of a friend from school. From his first passion, he emerged as a midfielder on the CSA youth team (Maceió), where he could have even pursued a professional career. At 23, he arrived in Rio de Janeiro to try his luck in the music market. He worked as a crooner at famous clubs such as Number One and 706. With the help of Edson Mauro, broadcaster and fellow countryman, he met João Araújo, president of Som Livre, that takes him to TV Globo. He starts to sing the soundtracks of soap operas, for which he records songs by renowned composers such as "Alegre Menina" (Dori Caymmi, with lyrics by Jorge Amado), from the soap opera Gabriela, "Qual é" (Marcos Valle and Paulo Sérgio Valle), from novel Os Ossos do Barão (1973), and "Calmaria e Vendaval" (Toquinho and Vinícius de Moraes).

1975-1976: "Famous Fact"

In three years, in his spare time at the microphone, he composed more than 60 songs, of various genres; with one of them, "Fato Consumado", he took second place at the 1975 Festival Abertura, idealized by Rede Globo, and arrived at Som Livre's studio. There he recorded his first album, which was produced by Aloysio de Oliveira, mythical producer of Carmen Miranda and Tom Jobim. ''The voice, the guitar, the music of Djavan'' from 1976 is a samba album shaken, syncopated and different from anything that was done at the time. Viewed today, this work doesn't just mark Djavan's debut. It makes him an unavoidable figure in the history of Brazilian music. Their first album brought the "flagship": "Flor de Lis" which becomes a great hit on the radio. In addition to the success ''Fato Consumado'", the album shows other compositions that gained recognition among critics and fans such as: " Maria das Mercedes", "Embola Bola", and "Para-Raio"

1977-1979: "Indian Face"

After some time, he performed solo for three months at nightclub 706, and later left Som Livre and joined Odeon. Djavan recorded his second album, titled Djavan, released in 1978, which would later be subtitled "Cara de Índio" (name of the first track on the album). Excited about their new artist, EMI-Odeon invests heavily in the album. With an orchestra of the best musicians in the square in 1978, Djavan, marked by the discovery of the great songs of love and disaffection, consecrates him as a complete composer.

In addition to "Cara de Índio" which portrays the culture and social vision of Brazilian Indians, the album has the song "Álibi" which at the same time would be recorded by Maria Bethânia, becoming a huge success in the country, which was the track -title of the singer's most successful album, Álibi (which was the first album by a female interpreter in the history of Brazilian music whose sales exceeded 1 million copies). Other songs from the same album were also re-recorded: "Dupla Traição", by Nana Caymmi, and "Samba Dobrado", by Elis Regina at the Montreux Jazz Festival.[1][4] Djavan also records a video clip of the song "Serrado" for the program Fantástico on Rede Globo and, even though he is no longer on Som Livre, makes it another hit for the artist. Among other important songs on the album is "Nereci", appearing in several international collections, being classified mostly as a "dancing song".

1980: "My Well Wanted"

Two years later, in 1980, Djavan released the album Alumbramento and showed that, in addition to being complete, he dialogued well with his peers. The album opens partnerships with Aldir Blanc, Cacaso (in "Triste Baía de Guanabara") and Chico Buarque (in "A Rosa"), now definitely MPB's first teammates. At this point, a talent recognized by critics and audiences, Djavan sees some of his songs gain other voices: Maria Bethânia records "Alibi"; Roberto Carlos records “A Ilha”; Gal Costa records “Açaí” and “Faltando um Pedaço”; and Caetano Veloso, paying homage to the verb "caetanear", replaces it with "djavanear" in his version of "Sina". The song "Meu Bem Querer" was the soundtrack of three soap operas on Rede Globo: Coração Alado, with the theme of the character Vívian, interpreted by Vera Fischer, A Indomada, in the original version and was also the opening theme of the soap opera Meu Bem Querer, in new version. The song became one of the biggest hits in the singer's career.

1981: Seduce

In 1981 and 1982, Djavan was awarded the prize for best composer by the Associação Paulista dos Críticas de Arte. The victorious cycle of releases by EMI-Odeon ended in 1981 with the album Seduzir. A record of affirmation, as Djavan himself would write in his booklet: ''The little I learned is here. Full. From toe to head''. After a trip by Djavan to the city of Luanda, Angola, accompanied by Marieta Severo, Chico Buarque, Zezé Motta, Gonzaguinha, Paulinho Nogueira and Walter Franco, the first songs about Africa and the beginning of tours in Brazil, guided by the producer, appear Monique Gardenberg and director Paulinho Albuquerque. The album Seduzir was rated by allmusic with the highest score, where critic Alex Henderson compares Djavan's compositions and musical style to those of the Beatles and Stevie Wonder, as well as citing tracks such as "Sedutor", "Morena de Endoidecer", "Jogral" as significant. " and "Faltando um Pedaço". Another legacy of Seduzir was the first band, called Sururu de Capote, composed by Luiz Avellar on piano, Sizão Machado on bass, Téo Lima as drummer and Zé Nogueira on woodwinds.

1982-1983: Light and international recognition

In 1982, "Flor-de-lis", an instant hit from the inaugural album, became Djavan's first hit in the disputed North American market, voiced by diva Carmen McRae, with the title "Upside Down". The invitation from CBS label, future Sony Music, arrives, and Djavan leaves for Los Angeles to record, under the production of Ronnie Foster, one of the main names in North American soul music, the album Luz, which has the participation of Stevie Wonder in song "Samurai", in addition to other great hits that would become eternal such as "Sina", "Pétala", "Açaí", "Capim". The work results in a mix of Brazilian musicality typical of exporting with the American jazzy influence.

In 1983, he participated in the hit "Superfantástico", by the highly successful children's group Turma do Balão Mágico.

1984-1990: Lilac, My Side, It's Not Blue, But It's Sea and Ocean

In 1984, in Los Angeles, Djavan also recorded a second album Lilás, with the title track of the same name, which was performed more than 1,300 times on Brazilian radio stations on its debut day. The album still produces another great hit for radio: "Corners".

In 1985, a compilation of the albums Luz e Lilás was released in the USA.

Two years of traveling around the world follow. Still at this time, Djavan dedicated himself to an acting career, in the film Para Viver um Grande Amor, by Miguel Faria Jr., in which Djavan plays a passionate beggar who is enchanted by the rich girl, played by Patrícia Pillar.

Around 1983-1984 there were rumors of an extramarital affair, in which Djavan would have been involved with the actress Glória Pires, this fact was denied by the singer himself in an interview with Playboy magazine, having stated to the magazine "(Glória Pires ) There was this enchantment for me...But we didn't date, no." In the same publication, Djavan stated that his extramarital relationship involved the actress Patricia Pillar, with whom he had a relationship for eleven months, starting with the recording of the film Para Viver um Grande Amor, in which they co-starred, Djavan separated from Aparecida, his wife, but he had no further contact with Patricia.

In 1986, he returned to recording in Brazil. My side, in addition to returning, is also a new beginning. A return to samba, already with a musical style identified by the public, but also a tour of baões, songs and ballads. This is the Djavan in ten years of career: explorer of sound, words, unusual images, rhythmic variety, games with tempos, non-standard melodies and harmonic richness. Present in other songs, the African ancestry is imprinted in Meulado, with the "Anthem of the Black Youth of South Africa" and even more vigorously in "Soweto", his first effectively protest song, a song that opens Não é azul, mas é mar (1987), recorded again in Los Angeles and released as Bird of Paradise, with songs in English by Djavan: "Stephe's Kingdom" (featuring Stevie Wonder), "Bird of Paradise" and "Miss Sussana".

The next disc, Djavan (1989), is remembered as "the one from "Oceano", the classic, one of those rare songs perfect in form, content, music and lyrics. The title track, included in the soundtrack of the soap opera Top Model, becomes one of the composer's biggest hits. The album also produces other hits such as "Cigano", "Avião" and "Mal de Mim", which is included in the TV Globo miniseries O Sorriso do Lagarto . Like Bird of Paradise, Oceano was also released abroad in 1990, with the title Puzzle of Hearts, containing English versions for the tracks "Avião" ("Being Cool"), "Oceano" ("Puzzle of Hearts") and "Curumim" ("Amazon Farewell").

1990s: diversification of styles in Coisa de Acender, Novena, Malaysia and Bicho Solto

Djavan starts the 90s with the acclaimed album Coisa de Acender. Released in 1992, it is one of the singer's most creative and diversified albums, where one can notice a great influence of styles such as jazz, soul, blues and American funk, combined with the unmistakable style of his compositions. The tracks "Linha do Equador" (a partnership between Djavan and Caetano Veloso), "Se", "Boa Noite", "Alivio", "Outono" and "A Rota do Indivíduo (Ferrugem)", a dense and introspective ballad deserve to be highlighted. , with a complex and very elaborate melody. In the fusion of innovative rhythms and harmonies of Coisa de Acender, partnerships return, among them, with daughter Flávia Virginia, on vocals in several tracks.

At 45 years of life and 20 of career, in 1994, Djavan released Novena, a work that marks his maturity. Entirely composed, produced and arranged by him, the album consolidates the work with his band, composed then by Paulo Calazans on keyboards, Marcelo Mariano or Arthur Maia, bass, Carlos Bala on drums and Marcelo Martins, woodwinds.

With Malaysia (1996), the band expands and gains participation in the horn section: Marçalzinho on percussion, Walmir Gil on trumpet and François Lima on trombone. The album features three tracks by other composers: “Coração Leviano”, by Paulinho da Viola, “Sorri”, Braguinha's version of “Smile”, by Chaplin and “Correnteza”, by Tom Jobim and Luiz Bonfá. On the record, Djavan is reflective and melodic. Two songs from this album, Correnteza and Nem Um Dia, were respectively included in the soundtracks of the successful soap operas O Rei do Gado and Por Amor. The album Bicho Solto (1998), two years later, already features the festive and dancing artist, igniting tracks to the rhythm of funk.

Both works celebrate his 20th career, the first with his personal style, the second with the artist's rejuvenation. Among the partnerships, the definitive entry of guitarist Max Viana, his son, in the band. The mark of two million copies sold is in charge of the double Ao Vivo (1999). First recorded outside of the studios, the album brings almost an anthology of his work, with 24 tracks, 22 great hits. The release takes Djavan on a three-year tour.

2000s: Miraculous, Vanity, On the Track, etc. and hues

The song "Accelerated" was chosen the best Brazilian song of 2000 at the Latin Grammy.[10] In 2000, Djavan received the Multishow Awards for best singer, best show and best CD. Milagreiro, from 2001, is a double return home. The first was recorded entirely in her home studio, with the help of her children Max and João Viana and Flávia Virginia, and a return to the original home, Alagoas, with the ubiquitous Northeastern theme. In 2004, the musician celebrates total independence, with the creation of his own label, Luanda Records, which would release his two following albums, Vanidade (2004) and Na Pista, etc. (2005), a disc of his remixed songs for dancing and Matizes, (2007). It is the emergence of businessman Djavan Caetano Viana.

Years 2010: Aria, Rua dos Amores e Vidas pra Contar

Djavan during a show in 2011

In 2010, Aria is the first in which Djavan exercises exclusively the art of interpreting songs by other composers. Always rigorous in the conduct of his career, he awaited the peak of vocal maturity to focus on a repertoire chosen between his affective memory and his antennae always connected to what is musical and interesting.

In 2012 he launched Rua dos Amores. After four years without deliberately composing anything –besides the intense involvement with Aria– Djavan presents us with this new album. Strolling through Brazilian rhythms and sounds like someone crossing the street where he was born, grew up and grew up, the author signs the lyrics and melodies of the 13 new songs, made all the arrangements and is the producer of the CD. Rua dos Amores is a record of love songs, period. And songs as diverse as possible, in form and content. Listening to them is walking through this diversity, without ever losing a unique style. The song "Vive", in partnership with Maria Bethânia, is the theme of the soap opera Salve Jorge.

In 2014, the CD and DVD Rua dos Amores Ao Vivo was released. This includes hits by the singer, in addition to the new song "Maledeto".

In 2015 Djavan receives a Latin Grammy for his body of work. In 2016, he was nominated for the Latin Grammy for Recording of the Year and the Latin Grammy for Best Song in Portuguese Language for his song "Vidas Pra Contar"; the eponymous track's album was also nominated for a Latin Grammy for Album of the Year and a Latin Grammy for Best Singing Album.

In 2018, he won a tribute album in reggae rhythm titled Jah-Van – Djavan goes Jamaica produced by BiD and Fernando Nunes. In the same year, his album Vesúvio was elected the 35th best Brazilian album of 2018 by Rolling Stone Brasil magazine.

ancestry

In 2007 he underwent a DNA test to verify his ancestry. The results of the Djavan test — African maternal ancestor and European paternal reveal a pattern of the Brazilian population, which was born from the mixture of Portuguese settlers with native Indians and with Africans brought back as slaves.

The test that examined the singer's maternal ancestry revealed a set of genetic sequences (haplogroup) that is predominantly found in West Africa and reaches maximum frequencies (17%) in Senegal.

The test that traced the paternal lineage identified a haplogroup "typically European and more characteristic of northern countries"

Caetano Emanoel Viana Teles Veloso OMC (Santo Amaro, August 7, 1942) is a Brazilian musician, producer, arranger and writer. With a career spanning more than five decades, Caetano built a musical work marked by re-reading and renovation and widely considered to have great intellectual and poetic value. Although from an early age he learned to play the guitar in Salvador, wrote film reviews for Diário de Notícias in the 1960s and 1962, and learned about the work of radio singers and bossa nova musicians (notably João Gilberto, his "supreme master " and with whom he would share the stage years later), Caetano began his work professionally only in 1965, with the single "Cavaleiro/Samba em Paz", while accompanying his younger sister Maria Bethânia on her national presentations of the show Opinião, in Rio of January.

In that decade, he met Gilberto Gil, Gal Costa and Tom Zé, participated in Rede Record's popular music festivals and composed film scores. In 1967, his first LP came out, Domingo, with Gal Costa, and, the following year, he led the movement called Tropicalismo, which renewed the Brazilian music scene and the ways of performing and creating music in Brazil, through the album Tropicalia ou Panis et Circencis, alongside several musicians. In 1968, due to the hardening of the military regime in Brazil, he composed the anthem "É Proibido Proibir", which was disqualified and widely booed during the III Festival Internacional da Canção. In 1969, he was arrested by the military regime and left for political exile in London, where he released the album Caetano Veloso (1971), an album with a melancholy theme and songs written in English and addressed to those who remained in Brazil. The album Transa (1972) represented his return to the country and his experiment with reggae bars. In 1976, he joined Gal Costa, Gilberto Gil and Maria Bethânia to form Doces Bárbaros, a group influenced by the hippie theme of the 1970s, releasing an album, Doces Bárbaros, and going on tour. In the 1980s, more sober, he sponsored and was inspired by Brazilian rock groups, ventured into the productions of the albums Other Words, Colors, Nomes, Uns and Velô, and, in 1986, he participated in a television program with Chico Buarque . In the 1990s, he wrote the book Verdade Tropical (1997) and the album Livro (1998). He won the 2000 Grammy Award in the World Music category. With the album A Foreign Sound, he sang North American classics. In 2006, he released the album Cê, the result of his experimentation with rock and the underground. Joining these genres to samba, Zii and Zie, from 2009, kept the partnership with Banda Cê, which ended with the album Abraçaço, from 2012.

Caetano Veloso is considered one of the most influential Brazilian artists since the 1960s, having already been called the "post-modern aedo". In 2004, he was considered one of the most respected and productive Latin American musicians in the world, having released more than fifty albums and songs on the soundtracks of films such as Hable con Ella, by Pedro Almodovar and Frida, by Julie Taymor. Throughout his career, he also became one of the most controversial personalities in Brazil. He is one of the most important figures in Brazilian popular music and internationally considered one of the best composers of the 20th century, being compared to names such as Bob Dylan, Bob Marley, John Lennon and Paul McCartney. He was elected by Rolling Stone magazine as the 4th greatest artist in Brazilian music of all times by the body of the work[8] and by the same magazine the 8th greatest Brazilian singer of all times

Biography

Personal life

Caetano together with his children

Caetano Veloso was born on August 7, 1942 in Santo Amaro, Bahia, as the fifth of seven children of José Teles Velloso (1901-1983), "Seu Zezinho", a public employee of the Brazilian Postal and Telegraph Company, and Claudionor Viana Teles Velloso, better known as "Dona Canô" (1907-2012), married on January 7, 1931. Has indigenous ancestry, more precisely of the Pataxó ethnicity, by a paternal great-grandmother, black Afro-Brazilian and Portuguese, by the part of father.

From an early age, he showed immense interest in art and painting. In 1946, his younger sister was born. Veloso was instrumental in choosing his name: the four-year-old boy who loved Brazilian music, inspired by the Capiba composer's "Maria Bethânia" waltz and the successful voice of singer Nélson Gonçalves, so chose his sister's name, Maria Bethania. Both would see their artistic trajectory cross at different times and were the two sons of Dona Canô who stood out the most on the national scene.

Two main events made him opt for music. At sixteen, he had an impact that definitively changed his plans to work in cinema: he heard the song "Chega de Saudade" on a program on Rádio Mayrink Veiga, voiced by Marisa Gata Mansa, and learned of João's 1959 album of the same name. Gilberto. "It was the clearest milestone a song has ever left in my life," he would recall years later. The greatest musical influences of this time were some singers in vogue at the time, such as "o rei do baião" Luiz Gonzaga, and songs of greater regional appeal, such as sambas de roda and candomblé music. In 1956, he attended the auditorium of Rádio Nacional, in the city of Rio de Janeiro, which featured presentations by the greatest Brazilian musical idols.[citation needed] Caetano Veloso had several relationships, the most controversial being Paula Lavigne, with whom he had the first sexual relationship, she was thirteen years old and Caetano Veloso was forty years old. Paula Lavigne, disclosed the fact in several magazines in the nineties, having even admitted that she maintained this relationship throughout her adolescence.

artistic trajectory

He began his career interpreting bossa nova songs, under the influence of João Gilberto, one of the icons and founders of this type of song. He collaborated with the beginnings of a musical style that became known as MPB (Brazilian popular music), shifting the pop melody towards political activism and social awareness. The name was then associated with the hippie movement of the late 1960s and the songs of the Tropicália movement. He worked as a film critic for the Diário de Notícias newspaper, directed by director and fellow countryman Glauber Rocha. The work acquired a heavily engaged and intellectualist contour, the artist established himself, being respected and heard by the media and specialized critics.

In his youth he participated in semi-amateur shows alongside Tom Zé, sister Maria Bethânia and partner Gilberto Gil, joining the cast of " Nós, for example", "Mora na Philosophy" and "Nova bossa Velha, Velha Bossa Nova" in 1964 The first musical work was a soundtrack for the theatrical play Boca de Ouro, by writer Nelson Rodrigues, in which Bethânia participated in 1963, and she also wrote the soundtrack for the play "A exception and rule", by the German playwright Bertolt Brecht, directed by Álvaro Guimarães, at the same time he entered the Faculty of Philosophy of the Federal University of Bahia.

Beginning of musical career

Caetano Veloso at the III Festival of Popular Music, 1967. National Archives.

It was released on the national music scene by her sister, the already recognized singer Maria Bethânia, who recorded a song of her own on the first album, "Sol negro", a duet with Gal Costa (the two were the singers who recorded the most songs of her own authorship ). In 1965, he released his first single, with the songs "Cavaleiro" and "Samba em Paz", both written by RCA, which later became BMG (later acquired by Sony Music), also participating in the musical "Arena canta Bahia" (alongside Gal, Gil, Bethânia and Tom Zé), directed by Augusto Boal and presented at TBC (São Paulo). It had songs included in the soundtrack of the short film "Viramundo", directed by Geraldo Sarno.

The first LP recorded, in partnership with Gal Costa, was Domingo (1967), produced by Dori Caymmi, released by the Philips label, which later became Polygram (currently Universal Music), which would release almost all of his albums . "Domingo" had a totally bossa-novista sound and to it belongs the first popular hit of her career, the song "Coração vagabundo". Even though it was not a resounding success, it ensured good recognition to the duo and was widely acclaimed by the music industry at the time, such as Elis Regina, Wanda Sá, Dori Caymmi himself and Edu Lobo, marking their debut on this label, at the invitation of then artistic director João Araújo. The song "Um dia", from the repertoire of this album, received the award for best lyrics at the II Festival of Brazilian Popular Music on TV Record.

Tropicalism

Main article: Tropicalism

That same year, his first individual LP, Caetano Veloso, was released, featuring songs such as "No dia que vi-me-me", "Tropicália", "Soy loco por ti América", "Superbacana" and the song Alegria, Alegria - also released in a single single - which, to the sound of the electric guitars of the Argentine group Beat Boys, drove the third Festival of Brazilian Popular Music (TV Record, October 1967) crazy, together with Gilberto Gil, who played Domingo no Parque, classified respectively in fourth and second place. It was the beginning of Tropicalismo, a movement that represented a great effervescence in Brazilian popular music.

This milestone was achieved by the release of the album Tropicalia ou Panis et Circencis (July 1968), a collective album that featured the participation of other renowned names in the movement, such as Nara Leão, Os Mutantes, Torquato Neto, Rogério Duprat, Capinam, Tom Zé , Gilberto Gil and Gal Costa. His song "É Proibido Proibir" was associated with this context (the same compact that included the song Torno a repeat, public domain), which caused one of the many anthological episodes in the eliminatory phase of the 3rd Festival Internacional da Canção ( TV Globo), at the Catholic University Theater (São Paulo, September 15, 1968). Dressed in plastic clothes, accompanied by the distorted guitars of Os Mutantes, he suddenly launches a historic speech against the audience and the jury. "You don't understand anything!" he shouted. The song was disqualified, but it was also released as a single single. In November, Gal defended his song "Divino marvelous", in partnership with Gil, in the same musical where he participated defending the song "Queremos Guerra" (by Jorge Benjor). Caetano released a double single that contained the recording of the samba "A voz do morte" which was censored, thus the LP was collected from stores.

The tropicalist impetus soon found itself in tune with the artistic creation that seethed in other languages. "I had written 'Tropicália' not long ago when O Rei da Vela [text by Oswald de Andrade, staged by José Celso Martinez Corrêa] premiered. Watching this play represented for me the revelation that there was indeed a movement going on in Brazil . A movement that transcended the scope of popular music", recalls the artist.

Naturally, the movement would soon also embrace the sphere of behavior. Caetano Veloso and Jorge Mautner were the first androgynous of Brazilian popular music. In his first show on his return to Brazil, in 1972, Caetano faced the audience wearing hoop earrings, clogs, lipstick and strapless. Caetano Veloso was the greatest reference for artist Ney Matogrosso — who would later debut in the group Secos & Molhados.

Military regime

Since the beginning of his career, Veloso has always shown a challenging political position, being even confused as a leftist militant, thus earning the enmity of the military regime instituted in Brazil in 1964 and whose governments lasted until 1985. For this reason, the songs were often censored in this period, and some even banned. On December 27, 1968, Veloso and his partner Gilberto Gil were arrested, accused of having disrespected the national anthem and the Brazilian flag. They were taken to Marshal Deodoro's army barracks in Rio and had their heads shaved.

Both were released on February 19, 1969, Ash Wednesday, and went to Salvador, where they had to remain in confinement, without appearing or giving statements in public. In July 1969, after two farewell shows at Teatro Castro Alves, on the 20th and 21st, Caetano and Gil left with their wives, respectively the sisters Dedé and Sandra Gadelha, for exile in England. The show, precariously recorded, became the album "Barra 69", three years later.

Before leaving for exile, in April and May 1969, Caetano recorded the vocal and guitar bases for his next album, "Caetano Veloso", which were sent to São Paulo, where conductor Rogério Duprat would make the arrangements and direct the recordings of the album, released in August - one of the only ones that doesn't have a picture of him on the cover. In the repertoire, the highlights are the songs "Atrás do trioelétrica" (released in November in a single single with "Torno a repeat"), "Irene" made in jail in homage to her sister, the great success "Marinheiro Só", and re-recordings of "Carolina", by Chico Buarque (re-recorded many years later on the CD Prenda Minha), and the Argentine tango "Cambalache".

The song "Nonidentified", from the same album, was released in November in a single compact, together with "Charles Anjo 45", by Jorge Ben, in a duet with himself. In addition, he also worked as a music producer, with João Gilberto ("João voice and guitar"), Jorge Mautner ("Antimaldito"), Gal Costa ("Singing", whose show originated from this was also directed by him) and sister Maria Bethânia ("Drama - Anjo Exterminado", with the author's title track), also featuring numerous songs recorded by other interpreters.

1970s

Caetano in the early 1970s in São Paulo

Most of the songs on the album Caetano Veloso, recorded in London by the Famous label of Paramount Records, were sung in English, and Transa mixed Portuguese and English in the songs, both from 1971. One of this hits, London London, was eventually re-recorded by the group RPM fifteen years later, again placing the song on the charts, and the re-recording of Asa Branca (by the duo Luiz Gonzaga and Humberto Teixeira).

"Transa", with an unusual cover in the shape of a three-dimensional object, highlighting the re-recording of the samba "Mora na Philosophy" (by the duo Monsueto and Arnaldo Passos) and "Triste Bahia" (made under the inspiration of a sonnet excerpt from the countryman, the baroque poet Gregório de Matos). "Transa" also started a trilogy marked by experimentalism. The second work on this path was the controversial "Araçá Azul" (1973), which surprised due to its anti-commercial profile, with a large number of returns, was removed from the catalog and re-released only in 1987.

At the end of 1971, he also released the double single "O Carnaval de Caetano", highlighting the song "Chuva, sweat e Cerveja", which was hugely successful the following year. At the time, he released other singles for the carnival market: "Piaba", "Um frevo novo", "A Daughter of Chiquita Bacana", "Massa Real" and "Deus e o diabo".

The last work in the trilogy was "Joia" (1975), released together with "Anything". The original cover of the first one was censored for showing a self-portrait, the then wife and child naked - in a drawing of his own, whose cover would only be reconstructed sixteen years later, when it was reissued on CD. The cover of "Anything" was a paraphrase of the Let It Be album, by the English group The Beatles, whom he paid tribute precisely on these two albums, with the songs Lady Madonna, Eleanor Rigby and For No One ("Anything") and Help ("Gem").

In January 1972, Caetano Veloso returned permanently to Brazil, after having visited the country in August 1971, where he participated in a historic meeting, alongside João Gilberto and Gal Costa, held by the extinct TV Tupi. Beside this one of the greatest influences, he participated in 1981 in the album "Brasil", by his master João Gilberto. The album, which also had the presence of Gil and Bethânia, was released by the WEA label, in parallel with the premiere of the play "O percevejo", by Russian poet Vladimir Maiakóvski, with the participation of Dedé Veloso as an actress, and some poems set to music by Caetano himself. One of them, "O amor", would become a hit in Gal's voice.

In 1974, together with Gil and Gal, he released the album "Temporada de Verão", recorded at Teatro Castro Alves, in Salvador, highlighting the re-recording of "Felicidade", by Lupicínio Rodrigues, and the unpublished "De noite na cama" (which would later be re-recorded by Marisa Monte and Erasmo Carlos, again being successful) and "O content", both of his authorship.

In 1973, he performed at the "Phono 73" event, a series of shows promoted by the Philips record label with its entire cast, at Anhembi, in São Paulo, where he sang the song "Eu vai tira voce from this place", of the considered icon brega Odair José. A simple single with the musicalizations for "Dias dias dias" (with reference to "Volta", by Lupicínio Rodrigues) and "Pulsar" (Augusto de Campos) was included in "Black Box" ("Edições Invenção") , a work by the poet in partnership with Júlio Plaza; four years later, it also came out together with the book "Viva vaia" (Two Cities), which would then be published by Augusto. He participated in a show with Gilberto Gil in Nigeria (1977), where they spent about a month. In April, the book "Alegria alegre" was published by the publisher Pedra q ronca, with a series of articles, manifestos and poems by Caetano, as well as interviews with him, conducted by fellow countryman, friend and poet Waly Salomão. In 1977 came two albums: "Many carnivals", with songs destined for the carnival, made from recordings of songs previously released on compacts, and "Bicho", which simulated a foray into disco, a very popular genre at the time, with emphasis for the song Tigresa, a success in the voice of Gal Costa, which was composed in honor of the actress Sônia Braga (for whom she also wrote "Trem das cores", from the album "Cores e nome", released in 1982). In 1978, he released the criticized "Much", which began a partnership with the group "A Outra Banda da Terra" (ending in "Uns", released in 1983 with the special participation of Marina Lima, Antônio Cícero, the drummer of the samba school GRES União da Ilha do Governador and sister Maria Bethânia in the song "É Hoje") and it was a commercial failure - it sold about 30,000 copies, with emphasis on the songs "Terra", a tribute to Bahia, but also ao Planet Terra, and "Sampa", written in honor of the city of São Paulo, in addition to a tribute to footballer and former sports minister Pelé (Love love love) and the re-recording of a bossa nova hit, Eu Sabeo I will te amar, (authored by the duo Tom Jobim and Vinícius de Moraes).

That same year, he released "Maria Bethânia e Caetano Veloso - ao vivo", which was initially conceived only in his hometown to raise funds for the restoration of the local cathedral, but ended up being taken to several Brazilian cities. The following year, he released the acclaimed "Cinema Transcendental", whose title was taken from the song "Trilhos Urbanas", in the repertoire. Reaching around 100,000 copies, he brought his own anthological songs, such as "Menino do Rio" (success in the voice of Baby Consuelo, currently Baby do Brasil), "Lua de São Jorge", "Beleza pura" (which became the great hit of the LP), and "Cajuína"', and an exaltation to religiosity with "Oração ao tempo".

In 1979, he performed at a festival on TV Tupi, defending the song "Dona culpa remained unmarried", by Jorge Ben, where he was booed and the song disqualified.

The 1970s were very important for Caetano's career, and for all Brazilian popular music. Among the most representative songs by Caetano from that period are, among others: "Crazy for you", "Cá-já", "A Tua presense morena", "Epic", "It's a long way", "Um índio", "Prayer to the weather", "A little more blue", "Nine out of ten", "Maria Bethânia", "Júlia/Moreno", "My Woman", "Tigresa", "Cajuína", "You don't know me" and "London London".

barbarian sweets

Along with his colleagues Gilberto Gil and Gal Costa, he released the album Doces Bárbaros, by the group named with the same name and created by his sister Maria Bethânia, who was one of the band's vocals. The record is considered a masterpiece; nevertheless, curiously at the time of its release (1976) it was heavily criticized. Over the years, the motto "Doces Bárbaros" was the theme of a film directed by Jom Tob Azulay, DVD and plot of the samba school GRES Estação Primeira de Mangueira in 1994, with the song "Atrás da verde-e-rosa vai que already died" (paraphrase of the verse of "Atrás do trioelétrica", recorded in 1969), handlers of the Trio Electric in Salvador's Carnival, performed on Copacabana beach and in a performance for the then Queen of England, Elizabeth II . The quartet Doces Bárbaros was a typical hippie band from the 1970s.

Initially, the album would be recorded in the studio, but at the suggestion of Gal and Bethânia, it was the show that was recorded on disk, with four of those songs recorded shortly before in the double studio compact, with the songs "Esoteric", "Chuckberry Fields Forever ", "São João Xangô Menino" and "O seu Amor", all rare recordings.

1980s

In the 1980s, the popularity grew abroad, mainly in Israel, Portugal, France and Africa. He led, in 1986, alongside another of the greatest singers of his generation, Chico Buarque, from Rio de Janeiro, with whom he recorded an anthological live album in 1972, during the presentation of the program Chico e Caetano (TV Globo). The success of this one ended up giving rise to the album Melhores Moments de Chico e Caetano, which featured, among others, Rita Lee, Jorge Benjor, Astor Piazzolla, Elza Soares, Tom Jobim, Luiz Caldas, the Fundo de Quintal group and Paulo Ricardo.

In addition to this one, this year he released two albums: Totally Too Much, originated from an acoustic show (October 1985) that was recorded at the Copacabana Palace hotel in Rio de Janeiro. This album, released for the "Luz do Solo" project inclusive, was the first great success of his career, which sold around 250,000 copies and brought re-recordings of songs that were successful in the voice of other singers, with an emphasis on the track- title, banned by the military regime for three years, and also "Caetano Veloso", also known as "Acústico", by the Nonesuch label, which brought re-recordings of old hits in this format. This record had the special participation of three musicians: Tony Costa (guitar), Marcelo Costa and Armando Marçal (percussion). Initially released in the United States, where it was recorded, it was distributed in Brazil only four years later (October 1990) and received good critical reception, leading to a show at Canecão's house in Rio, which would be restarted in April 1991. That same month, on on the 21st, Tiradentes day, he made a presentation in honor of Earth Day, which was attended by around 50,000 people, held in Botafogo Bay, in Rio de Janeiro.

In 1981, the album "Other words" reached the mark of 100,000 copies sold, becoming the biggest success of his career so far and guaranteeing him his first gold record. The sale of this album was boosted by the hits "Lua e Estrela" and "Rapte-me camaleoa", the latter composed in honor of actress Regina Casé. On this record, he also paid homage to fellow actress Vera Zimmerman, with the song "Vera Gata", the Portuguese language, in an avant-garde poetic incursion (with the title track), the state of São Paulo ("Nu com my music"), the poet Paulo Leminski ("Verdura"), the culture of candomblé and umbanda ("Yes/No"), the group Os Trapalhões ("Jeito de corpo") and the French singer Henri Salvador (Dans mon île), to whom also he would pay homage to the song "Reconvexo", recorded by Maria Bethânia. At the same time, he caused controversy by falling out with the specialized press (journalists and poets like Décio Pignatari, with whom he would reconcile on December 6, 1986, José Guilherme Merquior - who accused him of "pseudo-intellectual who tries to usurp the area of thought" , and Paul Francis).

In 1982, he participated as an actor in the film Tabu, by Júlio Bressane, in which he played the composer Lamartine Babo, and seven years later, in "Os Sermões - A História de Antônio Vieira", with Gregório de Matos, also written by Júlio. The following year, he inaugurated the program Conexão Internacional, of the extinct Rede Manchete, in a recording made in New York, where he interviewed Mick Jagger, singer of the Rolling Stones group. At the end of 1988 - December, the publisher Lumiar published a songbook (song book), produced by Almir Chediak, divided into two volumes and with the lyrics and figures of 135 songs.

In 1984, came "Velô", accompanied by the musicians of Banda Nova, highlighting, among others, "Podres Poderes", "O pulsar", the re-recording of "Nine out of ten" (originally recorded on the album "Transa", 1972), "O queres", a tribute to his father with "O Homem Velho", "Comeu", "Shy moon" and "Língua", a tribute to the Portuguese language. The latter two featured special guest appearances by Ritchie and Elza Soares.

Drawing on the engaged streak of the post-military regime, he sang, albeit with a small individual participation, in the chorus of the Brazilian version of We Are the World, the American hit that brought together voices and raised funds for Africa or USA for Africa. The project Nordeste Já (1985) embraced the cause of drought in the Northeast, joining 155 voices in a compact, collectively created, with the songs "Chega de Mágoa" and "Seca d'Água". Praised for the competence of individual interpretations, he was nevertheless criticized for his inability to harmonize the voices and the framing of each of them in the choir.

The 1980s was the moment when Caetano started releasing his records and performing bigger shows abroad. Among the most representative recordings of this period in the artist's career, and for all Brazilian popular music, are, among others: "The other romantics", "The foreigner", "José", "Giulieta Massina", "O jealousy", "I'm little black girl", "He kissed me on the mouth", "Other Words", "Peter Gast", "Hidden Eclipse", "Sunshine", "Jasper", "Complaint", "What You Want", "The Old Man", "Colour Train", "Hotel Night", "This Love", "Abduct Me Chameleon", "Tongue" and "Rotten Powers". From the vast discography, the album "Estrangeiro" also stood out, recorded in New York, after a series of performances in Italy in April, it was recorded in partnership with Arto Lindsay, who received excellent critical reception in the US press, yielding he won the extinct Sharp Prize (currently "Prêmio Tim") in music (1989), with the song "Meia lua todo" (by a formerly novice composer, Carlinhos Brown), which was part of the soap opera's soundtrack as one of the greatest hits. Tieta by Aguinaldo Silva. One of the most acclaimed albums by foreign critics was the album "Estrangeiro", released in 1989.

1990s

Caetano in 1996

In July 1990, he participated in the Montreux Jazz Festival, Switzerland. Also noteworthy are the albums "Circuladô" (1991), again produced by Arto Lindsay after having performed in September at the New York concert hall Town Hall, whose title track is inspired by a poem by long-time collaborator Haroldo de Campos date, which led to a live double album and a documentary, as well as a five-program special on TV Manchete, directed by Walter Salles. In October, he wrote, in The New York Times, a long article, with profound cultural implications, about the singer Carmen Miranda, in parallel with the launch of another book: "Caetano, why not?", by Gilda Dieguez and Ivo Lucchesi, by Editora Francisco Alves. In May, for the second time, he received the Sharp Music Award. Tropicália would be taken up again in the album "Tropicália 2" (1993), which commemorated the movement's 25 years and thirty years of friendship between Caetano and Gil, and still resuming the partnership between them, containing some doses of experimentalism ("Rap popcreto", "Aboio", "Dada", "Things"), a critique of the country's political situation ("Haiti" - the duo's social rap), a tribute to cinema (the Cinema novo movement), to Bahia's carnival ("Nossa gente " - also successfully recorded by the band Cheiro de amor), to the poet Arnaldo Antunes ("The Things" - whose lyrics were set to music from an excerpt from this homonymous book), and also to the musician Jimi Hendrix, with Wait until tomorrow. Previously, both had already released a single single with the songs "Each monkey on your branch" (Riachão), also included in his repertoire, and "Chiclete com banana" (Gordurinha and Almira Castilho).

In 1993, the book "Caetano - esse cara", by Héber Fonseca, published by the publisher Revan, was released. It contained testimonials given throughout his career in various publications, such as Brazilian radio and television stations. He also recorded an LP in Spanish, "Fina Estampa" (1994), which brought Latin American classics with arrangements by conductor and cellist Jacques Morelenbaum, in bossa nova style, and originated a live album of the same name, with part of those songs among others consecrated and little known songs from Brazilian popular music ("O samba e o tango", "Canção de amor", "Your hands", "Lábios que beijei", Você está com meu bem), re-recordings of old hits ("Haiti" , "O pulsar", "Itapuã", Soy loco por ti América) and songs in Spanish off the studio record, with Cucurrucucú paloma, La barca and Ay amor. The show had few performances in national territory, performing mainly in the Italian city of Naples (August 1994, in a meeting with singer Lucio Dalla). The CD version of the studio album included three more songs: Tonada de luna llena, Lamento borincano and Vete de mi.

On March 25, 1996, he was awarded the degree of Commander of the Order of Infante D. Henrique, from Portugal.

Another work that achieved relevant success was Omaggio a Federico and Giulietta (1999), with part of the songs in Italian (Come prima, Gelsomina and Luna rossa, which were part of the soundtrack of the telenovela Terra Nostra, by Benedito Ruy Barbosa), consisting of a tribute to Italian filmmaker Federico Fellini and his wife, film actress Giulietta Masina, whom he would also pay homage to in the homonymous song, included in this same album. She was also part of the repertoire of the album "Caetano" (1987), which sold 100,000 copies. Even this song was banned at the time of release. Unlike previous releases, this "Caetano" was not accompanied by interviews. Caetano, disgusted with the press, wanted to cut off relations with it. The show, held in Paris (March 1988), guaranteed him an exclusive appearance in Vogue magazine. In 1996, he was the subject of the creation of another book: "The arc of conversation: an essay on solitude", by Cláudia Fares (Cada Jorge Editorial). In 1997, he wrote the text for "Verdade Tropical" (Companhia das Letras publishing house - 524 pages), a book in which he reported the memories of tropicalismo and a personal account of his worldview. In 1997, there was also the release of the CD "Livro", highly praised by the specialized critics and nominated for the "Grammy Latino" award in September 2000, in the World Music category. In the repertoire, the recreation of an excerpt from the poem O Navio Negreiro, by fellow countryman Castro Alves; some unpublished songs ("Os passistas", "Crazy", "Você é meu", "Livro", "Um tom", "Manhatã" - dedicated to Lulu Santos -, "Doesn't fill", "Alexandre" and "For nobody "), re-recordings of classics of Brazilian popular music ("Na Baixa do sapateiro", by Ary Barroso) and songs of his own ("Onde o Rio é mais baiano" and "Minha voz, my life", made in the 1980s , more precisely in 1982, for Gal Costa to record), and "How beautiful could a being be", by his son Moreno Veloso.

From this album, the show "Prenda Minha" originated, which, in turn, gave rise to the also praised CD of the same name, released at the end of 1998, which brought re-recordings of old hits among other consecrated songs, in the total absence of songs from the album. studio. Even this CD was the first to reach the milestone of 1,000,000 copies sold in its career, a sale leveraged by the resounding success of the re-recording of the song "Sozinho" (Peninha), which, included in the soundtrack of the soap opera Suave Veneno, from Aguinaldo Silva, exploded on Brazilian radio. He also exhibited high productivity as a composer, with a predominantly poetic and intellectual bias.

2000's

Caetano Veloso at TIM Festival

He also released the CD "Noites do Norte" (2000), which deals with black and African cultures, where all the songs are unpublished, and whose title-track was taken from an excerpt from a book by Joaquim Nabuco, and which also led to an album live double and a DVD, containing the entire show. He recorded an album with Jorge Mautner in 2002, I don't apologize, which was even nominated for the "Grammy Latino" award the following year, in the category best Brazilian popular music album, at the same time he participated in the Pontifical Catholic University of São Paulo , from a special carried out by TV Cultura, in honor of the poet, critic and translator Haroldo de Campos - founder of the concrete poetry movement in the 1950s -, who had died on August 16 of that same year. In the highly praised and controversial "Cê" (2006), he resumed the pop repertoire contained in other albums, such as "Transa" and "Velô". This record caused controversy for containing some spicy lyrics that refer to sexuality, such as "Outro", "Urban God", "Man" and "Why'.

Caetano Veloso was appointed as an expert witness in the João Gilberto vs. EMI lawsuit, in which he found tampering with João's recordings caused by the label. In Caetano's words, "due to these glaring failures of the Defendant (EMI), João Gilberto suffered and continues to suffer incalculable losses".

In 2003, he released his first audio DVD, "Much more", which was a bonus box for "Todo Caetano', released at the end of the previous year (December) in celebration of his 35-year career (originally released in 1996, with thirty albums), and whose repertoire features well-known songs by the artist chosen by fans through the Internet, the world wide web. In 2004, he was considered one of the most respected and productive Latin American pop stars in the world, with more than fifty albums released, including songs on the soundtracks of feature films such as Hable con ella, by Pedro Almodóvar, Frida, a biography by Frida Kahlo, S. Bernardo, by Leon Hirszman, with a screenplay based on the novel of the same name by Graciliano Ramos, the documentary Cinema Falado , re-released in 2003 on DVD, whose title refers to the first verse of an old samba by Noel Rosa, Lisbela eo Prisioneiro, by Guel Arraes, Tieta do Agreste, by Cacá Diegues, based on the homonymous novel by writer Jorge Amado, A dama do stocking, by Neville de Almeida, based on the homonymous tale by Nelson Rodrigues; O Quatrilho, by Fábio Barreto; The colonel and the werewolf; Orpheus; Feats of Satan in the Land of Leva-e-Traz, by Paulo Gil Soares; Ó Pai, Ó, by Monique Gardenberg, among others.

In 2000, Caetano Veloso produced the album "João Voz e Violão", by João Gilberto. In 2001, the album won the Grammy award for best album in World Music.

In 2002, he published a book about the tropicalia movement, Tropical Truth: A Story of Music and Revolution in Brazil ("Tropicália: a history of music and revolution in Brazil"). The first production of a CD entirely in English (he had already released the album "Fina Estampa" entirely in Spanish) was A Foreign Sound (2004), in which he interpreted classics of American and English songs. In 2007, Universal Music released "Quarenta Anos Caetanos", a box divided into four parts, containing the entire official discography, in celebration of the forty years of partnership between Caetano and the record company.

In 2008, Caetano and singer Roberto Carlos performed together in tribute to Antônio Carlos Jobim, in which the CD and DVD Roberto Carlos and Caetano Veloso and the music of Tom Jobim were recorded. Caetano, in May 2008, premiered the show "Obra em Progresso", where he sings songs from his career, but especially new songs. The show was only presented in the city of Rio de Janeiro, and ended up returning in August to the same city. Among the new songs presented to the public that filled the nights at Vivo Rio and Teatro Casa Grande, are: "Falto Leblon", "Lobão tem Razão", "Perdeu" and "Base de Guantánamo". The unpublished songs from the show "Obra em Progresso" were recorded on disk, all produced in the studio in the second half of 2008 and released in April 2009 with the title "zii e zie" .

A blog was made for the singer for this project started in 2008 -and which ended in the same month as the release of the studio album-. The tour continued in Brazil and abroad between 2009 and 2010.

2010 decade

Caetano Veloso at the awarding of the Medal of Order to Cultural Merit, 2015

In 2011, Caetano released the single CD "MTV Ao Vivo - Zii e Zie", and the double DVD with the entire show "Zii e Zie", recorded at the house Vivo Rio, a few more moments from the show Obra em Progresso, recorded in 2008 at Teatro Oi Casa Grande, also in Rio de Janeiro. Caetano's two biggest projects for 2011 are Gal Costa's unpublished album, where all the songs will be his, and his third album with the band Cê.

In 2013, it became public that the singer is a member of the board of the Procure Saber Association, formed by artists and their representatives. Presided over by cultural producer Paula Lavigne, ex-wife of Caetano, Procure Saber is against the publication of unauthorized biographies of public persons. Among its members were also singers Roberto Carlos, Djavan and Chico Buarque. The group's intention was to prevent a direct unconstitutionality action filed by the National Association of Book Publishers (Anel) from being accepted by the Supreme Court. In the lawsuit, Anel questions the validity of articles 20 and 21 of the Civil Code, which require prior authorization from the subject to publish works about him if they reach his honor, good reputation or respectability or if they are made for commercial purposes . According to Anel, the Federal Constitution states that the expression of intellectual, artistic, scientific and communication activity is free and independent of censorship or license. support for censorship. In October 2013, the Folha de S. Paulo newspaper revealed the existence of a biography of the singer that had not been published due to lack of authorization. Caetano sometimes used the space in his weekly column in the newspaper O Globo to defend the association and even criticized Roberto Carlos when he said that the singer had taken a long time to come out in public to talk about the matter. Shortly after, Roberto Carlos announced his departure from the group. In his column in the newspaper, Caetano apologized. In 2016 Veloso won the Brazilian Music Award for the album Dois Amigos, um Século de Música alongside Gilberto Gil, in the MPB Album category and also as the winner in the MPB Singer category.

On August 5, 2016, he participated in the opening ceremony of the Rio 2016 Olympic Games, singing Isso Aqui, Que É, alongside Gilberto Gil and Anitta.[31] At the end of the same year, a new album by the band Fresno was released, which includes their participation in track 3, Hoje Sou Trovão.

In May 2017, after much controversy involving the subject of unauthorized biographies, the book "CAETANO - a biography (the life of Caetano Veloso, the most Sweet Bárbaro dos Trópicos), by Carlos Eduardo Drummond and Marcio" arrived at bookstores Nolasco.

His album Ofertório (Ao Vivo), recorded with his sons Moreno, Zeca and Tom, was elected the 25th best Brazilian album of 2018 by Rolling Stone Brasil magazine.

Legacy

Also considered a great intellectual, Caetano Veloso, in an interview with Gazeta de Alagoas newspaper, says that "... between Merleau-Ponty, who defended the perception of the world through the body, and Sartre, who always defended the taking of an intellectual position, always I was more Sartre, since university", being retorted by the interviewer who argues that being Caetano a man of "erotic affirmation" and "intense presence", he would be more like Merleau-Ponty. To which Caetano added: "That's right. But the fact is that we read Sartre, not Merleau-Ponty."

Gilberto Passos Gil Moreira, known as Gilberto Gil GCIH (Salvador, June 26, 1942), is a Brazilian singer, composer, multi-instrumentalist, music producer and politician known for his contribution to Brazilian music and for being a Grammy Award winner Awards, Latin Grammy and awarded by the French government with the National Order of Merit (1997). In 1999, he was named "Artist for Peace" by UNESCO.

Gil was also the UN ambassador for agriculture and food, and Brazil's minister of culture, between 2003 and 2008, during parts of the two terms of former president Lula.

In over fifty albums released, he embodies the eclectic range of his influences, including rock, typically Brazilian genres, African music, funk, disco music and reggae.

Biography

Gilberto Gil was born on June 26, 1942, in Salvador, Bahia. He is the eldest son of José Gil Moreira (1913-1991), a doctor who graduated from the University of Bahia, and Claudina Passos Gil Moreira (1914-2013), a primary school teacher. In the early 1940s, the family lived in Tororó, a modest neighborhood in Salvador. Due to difficulties in working, Dr. José Moreira decided to move with his wife to the city of Ituaçu. Later, the couple left Ituaçu, in the interior of the state of Bahia, returning to Salvador, so that the child could be born in the capital. Three weeks after the birth, the family returned to Ituaçu, where Gil spent his entire childhood.

In August 1943, his sister Gildina Passos Gil Moreira was born and Both Gilberto and Gildina were taught to read by their great-aunt Lídia, a retired teacher at the traditional Marquês de Abrantes School and foster mother to Gilberto's father. While the grandmother prepared the family meals, Gil and his sister did the chores. Gil recalls that the "[most] paradigmatic teacher in my life, without a doubt, was my grandmother. It was her, back home, who introduced me to the world of books, knowledge, stories, the world of Monteiro Lobato".

At the age of three, the boy already expressed his desire to be a musician, fascinated with the sounds of the local band, the accordion player Cinézio and the singers and guitar players - remnants of medieval troubadours, they sing impromptu verses, making challenges with each other, telling stories and history in the farthest reaches of the interior. It was one of the main sources of information for the northeastern population of Brazil. His verses were printed on string. In addition, Gil also listened to great hits on the radio in Rio de Janeiro and on the city's gramophones, the albums by Orlando Silva, Bob Nelson and Luiz Gonzaga. In 1952, at the age of nine, Gilberto and his sister moved to the city of Salvador, where they were admitted to Colégio Nossa Senhora da Vitória and, in the same year, to an accordion school at the Academia de Accordion Regina A Starting from then on, it started to receive influences from the music of Dorival Caymmi, as well as new musical styles coming from the south of the country, such as jazz.

In 1960, he finished high school and took the entrance exam to study engineering, however, he was not approved. So, he decided to take a prep course, with the objective of studying business administration. The following year, he was approved and began studying at the University of Bahia. During the course, Gilberto Gil promoted and participated in avant-garde events, such as the Music Seminar, directed by professor and composer Hans-Joachim Koellreutter, which gives young people contact with contemporary classical music; he met and began to date Belina de Aguiar, (born in Salvador, on May 26, 1938), a bank clerk who later became a university professor. In December 1964, he graduated in business administration, and in January of the following year, he moved to São Paulo, with the objective of providing a selection process for Gessy Lever. On May 29 of the same year, Gilberto Gil married Belina, who came to be called Belina de Aguiar Gil Moreira, moved to São Paulo, and began working as a trainee at Gessy Lever. After a month in a hotel, and an equal period of time in Campinas, he moved to Cidade Vargas, a suburb of São Paulo. He then began sharing his time with office and music responsibilities. In 1966, in Salvador, Gil and Belina's first daughter, Nara de Aguiar Gil Moreira, was born. A contract signed with Philips made the family move to the city of Rio de Janeiro and, some time later, on February 3, 1967, the second daughter of the couple Marília de Aguiar Gil Moreira was born. After a trip to Recife, Gil returned to Rio de Janeiro influenced by the popular culture of the region. In March, he separated from Belinda and, in the following month, he went to live with the singer Nana Caymmi. At this point, he was being managed by Guilherme Araújo.

Gilberto Gil with his wife Flora, during the 26th Brazilian Music Awards, 2015, at Theatro Municipal in Rio de Janeiro.

In November 1968, amid the effervescence of the Tropicalista movement, founded by Gil, he started dating Sandra Barreira Gadelha, a former banker in Salvador. In December, he and Caetano Veloso were arrested, due to Institutional Act No. 5, which restricted artistic and citizen freedom. There, Gil adopted a macrobiotic diet, and studied Eastern mysticism. He was released in February, remaining until July in a confinement regime, until they left the country. In the meantime, Gil got along with Duate and the musician and philosopher Walter Smetak. In March, he marries Sandra. Due to political pressure, Gil and his wife were forced to leave the country, moving to London, where, on May 17, 1970, the singer's third child, Pedro Gadelha Gil Moreira, was born. Gil lived at 16 Redesdale Street in Chelsea, moved to Hampton Court. On January 14, 1972, Gil received permission to return to the country with his family. On August 8, 1974, Preta Maria Gadelha Gil Moreira, the singer's fourth daughter, was born in Rio de Janeiro. Two years later, on January 13, 1976, Maria Gadelha Gil Moreira, daughter of Gil and Sandra, was born in Salvador. During a tour with Caetano Veloso, Gal Costa and Maria Bethânia, Gil was arrested in the act for marijuana use, in Florianópolis, Santa Catarina. The singer alleged physical and psychological dependence on the drug, and judge Ernani Palma Ribeiro, decided to commit the artist to the São José Psychiatric Institute, "Gilberto Gil declared that he liked marijuana and that its use did him no harm nor did it lead him to do it. evil" - words of the judge. In July 1978, Gil moved with his family to Los Angeles, USA, to start producing a new work. In Salvador, during the month of January 1979, the singer met the shopkeeper Flora Nair Giordano, and the following year he separated from Sandra and in September started living with Flora. On January 13, 1985, Bem Giordano Gil Moreira was born, the couple's first child, in Rio de Janeiro. Two years later, in 1987, Gil became president of the Gregório de Mattos Foundation, and moved to Salvador. Her family later moved to the city, there, on January 3, 1988, Isabela Giordano Gil Moreira, their second daughter, was born. Gil married Flora civilly on June 10, 1988. She, now Flora Giordano Gil Moreira, became manager of the artist's companies.

On January 25, 1990, at the age of nineteen, Pedro Gil, the singer's eldest son with Sandra, had a car accident and was left in a coma. Pedro was the drummer of the Rio de Janeiro rock group Egotrip, considered an extraordinary instrumentalist. Upon returning from São Paulo to Rio de Janeiro, he ended up sleeping at the wheel and lost control of the car. The car hit a tree at Lagoa Rodrigo de Freitas, at Curva do Calombo, and overturned several times. He was rescued and taken to the Beneficência Portuguesa Hospital, with a skull fracture and traumatic brain injury. On February 2, after eight days in the Intensive Care Unit in a deep coma, the young instrumentalist died.

A year later, on May 15, 1991, his father, José Gil Moreira, died in Vitória da Conquista, at the age of 78. Shortly thereafter, on August 27, 1991, Gil and Flora's third child, José Gil Giordano Gil Moreira, was born. On September 17, 2008, her granddaughter, Flor, daughter of Isabela (Bela Gil), was born in New York. On February 23, 2013, her mother, Claudina Passos Gil, at 99 years of age, died of multiple organ failure at Hospital Português, in Salvador.

In 2009, the singer obtained Italian citizenship, for being married to Flora Giordano, granddaughter of Italians.

The singer is the father of eight children. From the marriage with Belina de Aguiar Gil Moreira he had: Nara de Aguiar Gil Moreira (1966) and Marília de Aguiar Gil Moreira (February 3, 1967). From the marriage to Sandra Barreira Gadelha Gil Moreira, he had Pedro Gadelha Gil Moreira (May 17, 1970 - January 25, 1990), Preta Maria Gadelha Gil Moreira (August 8, 1974) and Maria Gadelha Gil Moreira (January 13, 1976). With Flora Nair Giordano Gil Moreira, he had Bem Giordano Gil Moreira (January 13, 1985), Isabela Giordano Gil Moreira (January 3, 1988) and José Gil Giordano Gil Moreira (August 27, 1991).

On November 24, 2015, Sol de Maria was born, daughter of Francisco Gil and Laura Fernandez and granddaughter of Preta Gil, being the first great-granddaughter of Gilberto Gil. In June 2016, after completing seven months of life, Sol de Maria receives a song from her great-grandfather, who had recently left the hospital where he was hospitalized for treatment of kidney failure.

Since February 2016, when he was diagnosed with hypertension, Gil had been hospitalized several times at Hospital Sírio-Libanês, in São Paulo. The artist was later diagnosed with a cardiorenal syndrome - a combination of kidney failure and heart failure, and treatment of the disease requires monthly hospitalizations, until November 2016.

Musical career

1959–65: Beginning of career

At the age of eighteen, Gilberto Gil formed the group "Os Desafinados" with friends, an instrumental group in which he took turns playing the accordion and vibraphone. The group performed at birthday parties, schools and clubs in Salvador. Gil remained in the group until 1961. In the late 1950s, at the age of seventeen, when bossa nova was on the rise, he listened to Bahian singer and guitarist João Gilberto, and from then on, Gilberto abandoned the accordion and started playing the guitar . Initially, he used his sister's instrument, until he had his - given by his mother, later. He began writing poems, mostly metered and influenced by the romantics Castro Alves and Gonçalves Dias, and the Parnassian Olavo Bilac, for example. Officially, his career began in 1962, composing and playing jingles. Later, "Bem Devagar", the first song composed by Gil, was released on a single recorded by the female group As Três Baianas, and he participated in the recording playing accordion. At that time, he also participated singing in programs on the local television network, and recorded a song made for Petrobras, "Povo Petroleiro", where on the B side, Gil performed the carnival march "Coça, Coça, Lacerdinha" - his first recording singing, released by JS Discos. The following year, Gil recorded and released the EP Gilberto Gil: Sua Música, Sua Interpretação, which contained four tracks composed by himself. From this, the single "Decision" was extracted, a samba known and renamed after "Amor de Carnaval". At the end of the same year, Gil met Caetano Veloso[34] - who had known Gil on TV and thought of him as an idol - presented by the music producer Roberto Sant'Ana, and soon after he met the singers Maria Bethânia and Gal Costa. In June 1964, the four of them, Tom Zé and others, performed the show "We, For Example...", inaugurating the Teatro Vila Velha, in Salvador, under the general direction of João Augusto and musical signed by Gil and Santana, with a repertoire composed of own songs and bossas by composers such as Dorival Caymmi. "Individual", Gil's first solo performance, took place the following year, at Vila Velha, under the direction of Caetano. like Galeria Metrópole, where he met and met several artists, played and sang in several bars, such as Redondo and Bossinha; at João Sebastian Bar, for example, he met Chico Buarque. He then started to partner with lyricists Capinan and Torquato Neto, in addition to participating with Caetano, Gal, Bethânia and Tom Zé, in "Arena canta Bahia", a show directed by Augusto Boal, and staged at Teatro Oficina Recorded his first tape demo and sent to the office of a music publisher. The tape was about 30 minutes long, featuring excerpts from eighteen songs. In October, Gil sang "Iemanjá" with Othon Bastos, at the V Festival da Balança, promoted by the Academic Directory of the Mackenzie University Law School, recorded by RCA, being invited by the label to release the first single of his career by a big seal, "Procession". Gilberto Gil listened to music by Jovem Guarda, as this helped a lot in his musical career, but he did not join the movement due to Caetano Veloso's opposition to Iê-Iê-Iê.

1966–68: Praise, Festivals, and Tropicália

Gilberto Gil and Nana Caymmi at the III Festival of Popular Music, 1967.

In early 1966 Gil began to stand out in the program O Fino da Bossa, shown by Record and presented by Elis Regina, to whom he showed his compositions "Eu Vim da Bahia" and "Louvação". His success earned him a contract to release an album through Philips Records; Gil then left his job at Gessy Lever and decided to live solely from music, moving to the city of Rio de Janeiro with Belinda and her daughter, Nara. "Procissão", the singer's first official single, was released in 1965. The following year, 1966, the label released "Ensaio Geral", Gil's second working song. He then traveled to Recife, presenting the self-directed show "Individual", Ali, he met both the local avant-garde and tradition, such as the fife bands of Caruaru, bringing these influences with him when he returned to Rio de Janeiro.[38 ] In May 1967 Gilberto Gil released his first album, Louvação. The album contains arrangements by Dorival Caymmi Filho (Dori Caymmi), and compositions by Caetano Veloso, José Carlos Capinam, Torquato Neto, Geraldo Vandré and João Augusto, with regional themes from Bahia, such as "Água de Meninos", for example, which portrays a fire occurred on a harbor pier, near fuel and wheat mills. Some critics praised the album, saying it has an "incredible melodic richness", influenced by Tom Jobim. Despite not having tropicalist themes and styles, Louvação showed that the movement was getting organized. Gil's show, General Rehearsal, goes off the air in May.

Gilberto Gil during the historic 1967 Brazilian Popular Music Festival, defending with Os Mutantes his song "Domingo no Parque", which came in second.

It is there, in Rio de Janeiro, that the singer would participate in several festivals promoted by Record and TV Rio and competed, as a composer, in two of them: I Festival Internacional da Canção, promoted by TV Rio, with "Minha Senhora", interpreted by Gal Costa; and II Festival de Música Popular Brasileira, by Record, with "Ensaio Geral" - ranked fifth -, performed by Elis Regina. This last song became the title of a television show presented by Gil on TV Excelsior. In October 1967, during the III Festival of Brazilian Popular Music, held at Teatro Paramount, where Nana was his partner in "Bom Dia", he performed one of the songs that marked him as a composer. Historically, Brazil was going through a phase of great nationalism. In this way, the country rejected characteristics of other cultures, such as electric guitars, which were "a mark of American and English culture, in addition to representing commercialism", as Caetano recalls. On the other hand, Gil, influenced by the Beatles, decided to include rock and Brazilian music in "Domingo no Parque", performed alongside Os Mutantes.

The song was ranked second, in addition to being awarded due to the "modern arrangement", made by Rogério Duprat. Alongside Caetano Veloso's "Alegria, Alegria", the first became a watershed in Brazilian music, since, from then until the end of 1968, a revolutionary movement, influenced by Oswald, was installed on the Brazilian scene. de Andrade and the anthropophagic movement, baptized as Tropicália - the name of an art exhibition created by Hélio Oiticica, from Rio de Janeiro, during the exhibition Nova Objetividade Brasileira, held at the Museum of Modern Art in Rio de Janeiro, which took its name. However, it was Nelson Motta, with the article called "A Cruzada Tropicalista", published in the newspaper Última Hora, on February 5, 1968, who named the movement.

The use of these instruments and this new musical style under popular music, moreover, represented a shock to the government of that time. Brazil suffered the military coup on March 31, 1964, the democratic freedoms conquered in previous decades were suspended. The military established in the country a government governed by institutional acts, a kind of decree that served to implement measures that could be above the constitutional order. During the government of Marshal Costa e Silva, Al-5 was promulgated on December 13, 1968, which gave the Executive almost absolute powers over all institutions. In this way, popular music should become the vehicle for political dissent.

1968: Consolidation of the movement, second album and repression

Gilberto Gil, 1960s.

Starting in 1968, the movement began to be consolidated. Caetano and Gil, along with Os Mutantes, began to frequently participate in television programs, especially through Chacrinha, a presenter who became an icon of the movement. Gilberto Gil participated in the show Momento 68, sponsored by Rhodia, taking the artist to Portugal and Spain. At that time, he began working with his new solo album and another project alongside other tropicalists, such as Caetano, Gal Costa, Tom Zé, Nara Leão, Os Mutantes and Rogério Duprat. In March, the label released the first single from Gilberto Gil's new album, "Pega a Yoga, Cabeludo". In May, under the title Gilberto Gil, also known as "Frevo Rasgado", Philips Records released the second album solo by Gil. Produced by Manoel Barenbein and arranged by Duprat, it became one of the fundamental albums of the Tropicália movement. In October 2007, the album entered the list of the 100 greatest albums of Brazilian music, made by Rolling Stone Brasil magazine, occupying the 78th position. Other artists, such as Caetano, also released tropicalist albums, receiving criticism from newspapers such as O Estado de S. Paulo, written by Augusto de Campos. Coordinated by Caetano Veloso, the tropicalistas released a collective manifesto album entitled Tropicalia ou Panis et Circencis, with songs by Gil, Torquato Neto, Capinam, Tom Zé and Veloso. "Miserere Nobis", "Lindoneia", "Industrial Park" and "Geleia Geral" are songs that portray the country, at the same time, retrograde and modern. In September Gil and Caetano competed in the Festival Internacional da Canção, promoted by TV Globo in Rio. The song, and the second single from Gil's album, did not qualify and, amidst the boos, Caetano declaimed a violent and improvised speech. "Divino , Maravilhoso", composed by Gil and Veloso, interpreted by Gal Costa, participated in the IV Festival of Brazilian Popular Music, reaching third place and, later, naming a television program by the tropicalistas, shown by TV Tupi, in São Paulo , directed by Fernando Faro. As Tropicália represented an intervention in the country's culture, as a criticism of national politics, the government decided to repress the movement, arresting Caetano Veloso and Gilberto Gil, in São Paulo on December 13, 1968. The artists and leaders of the movement were taken to the army barracks of Marshal Deodoro, in Rio de Janeiro. Only in February 1969, the artists were released, remaining under confinement until July. Until then, Gil along with Caetano, started recording material, in April and May, for new albums, arranged by Rogério Duprat, the project would be completed later in São Paulo and Rio de Janeiro. Upon leaving the confinement regime, they performed in a farewell show at Teatro Castro Alves. Later, Gil and Caetano, with their respective wives into exile, went through Lisbon and Paris, but settled in Chelsea, London. Gil said Guilherme, then the duo's manager, "went to Europe before us, to see where we were staying. Lisbon and Madrid were out of the question as Portugal and Spain were under a heavy dictatorship. Paris had a boring musical atmosphere. London was the best place to be a musician."

1969–1971: Exílio, third album and return to Brazil

In August, even with Gil abroad, the label released "Aquele Abraço", the first single from Gil's third album and one of the biggest hits of the year in Brazil. Gil said that the song represented a "bye bye" to the country. He composed it, after dealing with the issue of his departure from the country with the Army. He recalled that soldiers from the barracks greeted him saying: "That hug, Gil!" This was one of Gil's best-selling songs, reaching the top of the Brazilian chart. Also in August, Philips launched Gilberto Gil, also known as "Cérebro Eletrônico". Some reviews of the album say the songs were produced with an eye for noise, giving the track "Volks-Volkswagen Blue" the title "Tropicalist anthem". Allmusic critics conclude that the album "is very disjointed, not as consistent as the last album, but definitely a masterpiece for Brazilian pop in the future". In London, Caetano and Gil shared the stage of the Royal Festival Hall, in March 1970. This was the first of a series of performances in theaters made by Gil this year and the following year, in England and in other European countries, such as France, Switzerland, Germany, Austria, Denmark and Sweden. The success of "Aquele Abraço" earned the singer and composer a "Golden Dolphin" by the Museum of Image and Sound, in Rio de Janeiro. However, the artist himself ended up refusing the award, publishing an article in O Pasquim.

At the end of the month, Gil, Caetano and other Brazilian musicians participated in the Isle of Wight Festival, which brought together around 600,000 people. The Guardian newspaper, one of the main ones in England, wrote that "two anonymous Brazilians" were the main attraction of the second day of the event, which lasted five, and had the participation of great artists such as The Who, The Doors, Joni Mitchell and Leonard Cohen, as well as the last performance by Jimi Hendrix. The two went on stage singing in Portuguese, accompanied by African drums and a transverse flute, but minutes later they started using guitars and playing songs that mixed psychedelic rock, funk and samba. At this time, Gil was invited to produce the soundtrack for the film Copacabana Mon Amour, by Rogério Sganzerla. Along with musicians such as David Gilmour, from Pink Floyd, and Jim Capaldi, from the group Traffic, among others, Gil was invited to participate in a jam session, held at the Revolution club. His participation was repeated the following year as well. When he became involved in the organization of the Glastonbury Festival, in 1971, he had greater contact with reggae, a style that was in flux in London at the time. Bob Marley, Jimmy Cliff and Burning Spear became inspirations for the Brazilian composer. In addition to these two styles, Gil also attended jazz performances, with artists such as Miles Davis and Sun Ra. In the midst of all this, Gil signed a contract with the Famous Music label of Paramount Pictures, and the artist released an album with songs in English only. Entitled Gilberto Gil, also known as "Nêga", the album boosted Gil's international career, taking him to New York, where he performed a series of performances at the Village Vanguard and university theaters. British Philips contacted Gil with the aim of releasing a new album. The singer even recorded some songs, but ended up abandoning the project due to the possibility of returning to Brazil. Caetano had already returned to the country, and Gil went in January 1972, with his family, and since then, he toured the main capitals of the country with the show "Gilberto Gil: Em Concerto", which lasted two years and contained a repertoire of future albums.

1972–76: Expresso 2222, Refactoring and Barbarian Sweets

Four songs by Gil were published in Bondinho magazine, including "Expresso 2222", which gives the name to the singer's next album. Recordings for this new project began in April, and the first single was released in June, "Cada Macaco no Seu Galho (Chô Chuá)", with the participation of Caetano Veloso. "Chiclete com Banana" is the b-side of the single. The launch of Expresso 2222 took place in July. This was Gil's first job when he returned to Brazil. It's no wonder that Gil sings "Back in Bahia", a song that portrays the wound of a longing, while "Pipoca Moderna" brings the presence of the Banda de Fífanos de Caruaru and, in the theme track, Gil shows his guitar skills. The album tour began then and, during this time, the album Barra 69: Caetano e Gil ao Vivo na Bahia, recording of the show by the two in 1969, before their departure into exile, was released. In December, he spent a season with Gal Costa, performing at Teatro João Caetano, in Rio de Janeiro. The following year, Gil and Gal went to France, to perform at Midem, in Cannes, and at the Olympia theater, in Paris - which would be broadcast on French television in November of the same year. Upon returning to Brazil, he began recording a new album, Cidade do Salvador, which would only be released in 1999; the production of the project ended up being archived. However, in March, Gil released the single "Meio de Campo", which was highlighted due to the b-side "Eu Só Quero Um Xodó", original song by Dominguinhos and Anastácia, and which became one of Gilberto's main songs Gil. In April he began a series of performances at Teatro Opinião, in Rio de Janeiro. And, the following month, during the event "Phono 73", promoted by Philips Records, at Palácio das Convenções do Anhembi, in São Paulo, Gil and Chico Buarque were prevented by the censorship of the dictatorial regime from interpreting the song "Cálice", made by the two especially for this occasion. When the two started to sing the song, they had their microphones turned off. The song had already been presented to the censors, and it was recommended that it not be performed.

Gilberto Gil, in 1972.

In early 1974, alongside Caetano Veloso, Gil performed at Teatro Vila Velha, in Salvador. This show was recorded and, later, in April of the same year, released as an album, entitled Season of Summer. "Maracatu Atómico", song written by Jorge Mautner and Nélson Jacobina, was the project's first single, to be released in February . It was at this time that Gil started to manage his own career, leaving to work with businessman Guilherme Araújo, and went to São Paulo, performing a series of presentations at the Teatro da Universidade Católica, which, like the presentations at Vila Velha, was recorded and released in December with the title Gilberto Gil: Ao Vivo. The following year Gil & Jorge: Ogum, Xangô was released, an album released by Gil and Jorge Ben. In this one, the two sing and play their own songs. But then Gil started producing a new album, Refazenda. This was launched in 1975, and featured a tour of 45 Brazilian municipalities, with the aim of promoting the project.[16] This is one of Gil's two main albums, alongside Refavela (1977) - recorded after a trip to the African continent - and Highlight (1979).

On June 24, 1976, Caetano Veloso, Gal Costa, Gilberto Gil and Maria Bethânia performed a show known as "Doces Bárbaros", named after Bethânia, at the Palácio das Convenções do Anhembi. This performance turned into a tour that lasted until July 7, when Gil and Chiquinho Azevedo - then drummer - were arrested for possession of marijuana, in Florianópolis], Santa Catarina. The judge decided to commit both of them to the São José Psychiatric Institute, near Florianópolis, from where they left on the 20th to begin periodic outpatient treatment at Sanatório Botafogo, in Rio de Janeiro. Soon after that, the quartet returned to perform, now, at Canecão, where they remained on stage for two months, breaking box office records at the time. This tour turned into a documentary, Os Doces Bárbaros, by Jom Tob Azulay, and an album, Doces Bárbaros: Ao Vivo, released by PolyGram. Today, the album is considered a "masterpiece", however, at the time of its release (1976), it was heavily criticized. Initially, the project would be recorded in the studio, but, at the suggestion of Gal and Bethânia, it was decided that a live recording would be better, with four songs recorded, which were previously recorded in the studio and released as singles - "Esoteric", “Chuckberry Fields Forever”, “São João Xangô Menino” and “O Seu Amor”. In September Gil resumed the tour of Refazenda, which went through 58 cities in the country.

1977–1980: Revelation, Refestance and Enhancement

In January and February 1977, Gil went to Lagos, Nigeria, to participate, alongside Caetano, in the II World Festival of Black Art and Culture. From then on, he started to work on the Afro theme in his songs. The singer spent about a month in the country, time that would serve as the basis for the next album. Upon returning to Brazil, production began on this one, and "Sítio do Picapau Amarelo", the album's first working song, was released in March, the month in which Gil began recording the new material. After that, the singer performed a controversial presentation for students from a São Paulo high school; the students demanded a leftist political position from the artist, consistent with theirs, and ended up booing Gil. In May, Refavela was released and the first phase of the album tour began in the fall. In October, Gil joined Rita Lee and began a series of performances known as "Refestança". This one was recorded and released by Som Livre with the same name. The following year, the contract with Philips ended, but before that, the singer recorded six tracks for an album of Samba de breque, completed by old recordings by Germano Mathias. This project was launched in May with the title of Antologia do Samba-Choro. In 1978, Gil was invited to participate in the Montreux International Jazz Festival, Switzerland, celebrated on July 14th. He was the first Brazilian to perform at the festival, and was alongside A Cor do Som and Silvinho. This performance was recorded and released by Warner Music and its affiliates in August of the same year. Before that, the singer started a short tour during the European summer, and later moved to the United States with his family, living in Los Angeles and working on material for a new album, exclusively for the foreign market, under production by Sergio Mendes. It was the following year, precisely in March and May, that he began a tour of several American cities, mainly in university theaters, to promote his new album, Nightingale. Gil became the first black person to join the Bahia State Council of Culture - in which Maria Bethânia also participated -, this happened in July. "No Woman, No Cry" was released in May, and became a major hit in the singer's career, selling around 750,000 copies. This song announced the new project that begins recording in the United States and which was released in August. Highlight, toured with fifty-one performances, in thirty Brazilian cities and, alongside Jamaican Jimmy Cliff, they performed in gyms and stadiums in five Brazilian capitals, even recording a special broadcast by Rede Globo. Also in 1980, Gil was elected councilor in his hometown, Salvador. In addition, the artist took on other administrative positions in the cultural area, making constant trips to West Africa.

1981–85: Luar, Um Banda Um, Extra and a 20-year career

In November and December 1980, the recording of Luar (A Gente Necessidade Ver o Luar) began, the first album of many produced by Liminha. in March 1981, with a tour that started on March 31, lasted six months, he went to Europe, the United States and Argentina. Earlier this year, Gil won the Anchieta Medal of Gratitude from the City of São Paulo from the City Council of São Paulo, and in April, Rede Globo presented a special about the singer, entitled Gilberto Passos Gil Moreira. In September 1981, the single "Sonho Molhado" was released. Brasil, an album by João Gilberto, Caetano Veloso e Gil was released in June by Warner, and contains the participation of Maria Bethânia in one of the tracks. During the first two months of 1982, the singer began the production of a new album aimed at the foreign market, it would be his second. However, the project was filed by Gil himself. He then began a series of performances entitled "voz e violão" in April and May, after which he began recording a new album, Um Banda Um, and during its production he toured Europe, completed in Israel. In August, Um Banda Um was released, accompanied by "Andar com Fé", the first working song of this new project. His Brazilian tour began in August, and in December Gil had his house, a farm on Estrada dos Bandeirantes, in Jacarepaguá, Rio de Janeiro, robbed. And at that time, after all that, the publisher Currupio, released a book that contains collections of interviews with Gil, texts about him and other files, organized, written and published by the Bahian Antonio Risério. Um Banda Um's tour continued in May and July 1982 through the United States, Europe, and then Mexico and Colombia, before returning to Brazil, where the singer was already designing new content for the next album, to be released in September with the title of Extra. This new work would feature a tour that would last a month at the Palace, in São Paulo, and after passing through several cities in the country, arriving in Rio de Janeiro, where it was on display at Canecão from December to January, before leaving for other presentations in Salvador and Buenos Aires.

In 1984, Cacá Diegues directed a Franco-Brazilian film production entitled Quilombo, based on the books Ganga Zumba, by João Felício dos Santos, and Palmares, by Décio de Freitas. Gilberto Gil was invited to produce on the film's soundtrack, and in the same year the album with the film's songs was released in October, in Europe, by Warner. In the meantime, Gil performed in Europe and the United States, in June and July, and, after performing in Israel, he returned to Brazil to produce another album, Raça Humana. With the exception of the song "Vamos Fugir", which was recorded in Jamaica and had the participation of the group The Wailers and the English version of the track was released as a single in Europe, the album was produced in studio Nas Nuvens, inaugurated by Gil and Liminha, located in Jardim Botânico, in Rio de Janeiro. In September the recordings of the album were already completed, and the material began to be produced. Gil performed in New York, but returned to Rio de Janeiro for the release of the album and the debut of the tour, at Canecão, on October 25, 1984. The following year, January 9th to 12th, 1985, happened to first edition of the Rock in Rio music festival, in which Gil participated. In April, the recording of new material for the future album began, which was only finished in August. In June and July, the singer toured Europe and the United States, and three months later, released the album Dia Dorim Noite Neon. In November, the artist celebrated the 20th anniversary of his career with a major event in São Paulo, organized by the Bahian lyricist Waly Salomão. Entitled "Gil: 20 anos-luz", the week of shows featured presentations, debates, films, readings and presentations by great names in Brazilian music at the time. After that, Gil began the tour to promote his newly released album.

1986–1990: Political engagement and live in Tokyo

Nélson Pereira dos Santos, produced in 1987 a film entitled Jubiabá, based on the homonymous work by Jorge Amado, and invited Gil to make the soundtrack, in 1986. Around the month of April, Gil performed in a voice and guitar in the Golden Room, at Copacabana Palace, through the project "Luz do Solo". His writing partner Jorge Mautner participated in the show. But it was on May 6 that Gil received from Tom Jobim the Golden Dolphin - which Gil had already refused once -, an award from the State Government of Rio de Janeiro, at the time of Leonel Brizola, in a ceremony followed by a presentation at the Municipal Theater of Rio de Janeiro. In June and July, Gil went to Europe for the Dia Dorim Noite Neon tour. There, he was invited to participate in the French movement SOS Racisme, in the Bastille square, performing on the same night with French and African artists. From there, he went to his first performance in the Orient, in Japan; the tour also included passages through the United States, Canada and the Caribbean. In 1987, the artist became president of the Gregório de Matos Foundation, an institution dedicated to the revitalization of Afro-Brazilian culture. During his tenure, he intensified the Bahia-Africa relationship, so much so that a House of Benin was opened in Salvador, and in Africa, a House of Bahia. Gil was behind a project for the restoration of the historic center of Salvador, designed by the Italian Lina Bo Bardi and her team. Simultaneously with his political career, Gil was responsible for the soundtrack of the film Um Trem para as Estrelas, by Carlos Diegues, released by Som Livre. Gilberto Gil: In Concerto, it was released in March. It is the recording of the artist's presentation at Copacabana Palace, in 1986. To promote this new work, the artist joined Jorge Mautner and premiered in São Paulo "O Poeta eo Esfomeado", a show that would pass through twenty cities in Brazil . Their performance in Tokyo was released in Japan in May, and the album Soy Loco por Ti, America began to be recorded, especially for the international market. In the following months, Gil toured the United States and Europe and, in August, the album Soy Loco por Ti, America was released.

On March 2, 1988, Gil officially launched himself as a pre-candidate for mayor of the city of Salvador. Leaving on July 14 from the post of president of the Gregório de Mattos Foundation, due to political campaigning. Before that, he went to Europe and the United States for a short tour. In August, he decided to run for the Chamber of Councilors for the Brazilian Democratic Movement Party (PMDB), in the November 15 elections. In August, the publishing house Paz e Terra released O Poético eo Politico, by Gil and Antonio Risério, and the album Gilberto Gil: Ao Vivo em Tokyo, and the artist went to Japan for a tour and was elected councilor with the highest number of wishes. He returned to Rio for a new season of shows there. A new album began to be planned, and in January and February 1989, recording began. With permission from the Chamber, he started the national tour, on May 22, to promote his new album, O Eterno Deus Mu Dança, released in June. Gil went to the United States and Europe to promote his new work. In February 1990, his eldest son Pedro died in a car accident, and Gil decided to travel to Europe. And that year, on June 5, he received from the then French Minister of Culture, Jack Lang, the knighthood of the Order of Arts and Letters (Ordre des Arts et des Lettres, in French), and ended up extending the European and US to Japan. In November, Warner Music, through the WEA label, began to re-release in CD format all Gil's albums, previously released as a vinyl record by the label. Also in November, the artist was honored by the X Shell Brazilian Music Award, for his body of work.

1991–95: Parabolicamará, Tributes and Unplugged

In January and February 1991 Gil toured Europe. However, months later, on March 10, he took a break and, alongside Tom Jobim, Caetano Veloso, Sting and Elton John, he performed at Carnegie Hall in New York. Then, still in the United States, he began recording material for the American saxophonist Ernie Watts' album, entitled Afoxé, released by CTI Records. In June and July, he resumed touring Europe and, in November, began recording material for his new album, Parabolicamará, released in January 1992. The launch of the project and the beginning of the tour were marked by a great show on the beach of Copacabana, in Rio de Janeiro. In March, he left for Europe for twenty acoustic performances, with just voice and guitar. These performances had no connection with the tour of Parabolicamará - which left for Europe only after the singer's 50th birthday celebrations. In October, the publisher and the label Lumiar launched the first volume of the book Songbook Gilberto Gil, which contains ciphered chords and lyrics of 130 songs by the composer. The second volume contains three albums, in which 38 tracks are performed by various names in Brazilian music. From Europe, Gil left for New York, where he spent a whole month (November) performing at the Bowery Ballroom, just voice and guitar. Upon returning to Brazil, on December 19, he performed a great show in the Anhangabaú valley, in São Paulo.

With the end of his term as councilor, Gil abandoned politics and, in 1993, recorded with Caetano Veloso an album commemorating 26 years of tropicalismo and 30 years of friendship. In July, he was honored in the Brazilian night of the XXVII Montreux International Jazz Festival, with a show called "Gilberto Gil and Friends", in which Caetano, Gal Costa, Chico Buarque, Dominguinhos and the Trio Esperança participated. During July and August, he toured Europe and the United States, and then returned to Brazil, after that, to launch Tropicália 2 with Caetano, through PolyGram. The two made a presentation of the album at Praça da Apoteose, in Rio de Janeiro, on September 25th, and then, on October 2nd, at the Anhembi Art and Culture Pole, in São Paulo. In September PolyGram began re-releasing all of Gil's remastered albums, previously released by Philips as a vinyl record, within a "Collector" series. And the following month, Gil returned with the tour of Parabolicamará, going in November to Germany, with Marisa Monte, for several performances in the country.

On January 18, 1994 Gil recorded the program Acústico, on MTV. This performance was recorded and later released worldwide by Warner Music, as an album and home video entitled Gilberto Gil: Unplugged. While the release of the acoustic did not happen, Gil took the presentation promoting the album Tropicália 2, to Parque de Exposições in Salvador, on January 28th. And during the carnival that year, the artist, along with Caetano, Gal and Bethânia, the Doces Bárbaros, were honored by the Estação Primeira de Mangueira Samba School, with the samba-enredo "Atrás do Verde e Rosa, Só Não Vai Quem Has died". The quartet performed on the school's court, and participated in the parade at the Sambódromo da Marquês de Sapucaí, in Rio de Janeiro. In April, the label makes the acoustic album available. The launch took place at Sala Cecília Meireles, with a presentation that would tour the country, returning to Rio in September. During the VII Sharp Music Award, held on May 4, 1994, at the Municipal Theater of Rio de Janeiro, Gil received from Dorival Caymmi a tribute for her importance to national music. With the Doce Barbaros, Gil traveled to London. There, the quartet performed at the Royal Albert Hall, a show with the participation of the Mangueira battery. There, Gil and Caetano showed the show "Tropicália Duo", a transposition of the performances of Tropicália 2, in Europe and the United States. Also in 1994, precisely in November, Gil recorded in Oslo, Norway, a participation in the album by bassist Rodolfo Stroeter, which also featured the participation of singer Marlui Miranda and Indian percussionist Trilok Gurtu. At the end of the year, Gil took "Tropicália Duo" to Rio, São Paulo and Belo Horizonte. In order to promote Unplugged, Gil toured the United States and Europe in June and July 1995, starting to record new content for the next album over the next two months. In October, the Free Jazz Festival brought to Brazil great names in music, such as Nina Simone, Ray Charles, among others. And Gil participated in the festival, performing with Stevie Wonder, in Rio de Janeiro and São Paulo. At the end of the year, Gil was one of the names in the New Year's Eve show on Copacabana beach, alongside Gal Costa, Chico Buarque, Milton Nascimento and Paulinho da Viola, interpreting the repertoire of Tom Jobim, with the participation of the drums from Hose.

1996–2000: Festivals, Quanta, Grammys and Gandhy's Sons

In January 1996, Gil performed at the latest edition of the Hollywood Rock festival, held in Rio de Janeiro and São Paulo by the tobacco company Souza Cruz, where he received guests such as Fernanda Abreu, Lulu Santos and Lobão Months later, the Denison agency Bates released the song "Communidária", written and performed by the singer, on an album for the Comunidade Solidária project. This album was distributed to the campaign's target customers. At the end of March, Gil participated, alongside percussionist Naná Vasconcelos, in the third edition of the international festival PercPan, held in Salvador - this same festival would have its next edition organized by Gil and Naná, with the presence of eleven artists from six countries Assim As in previous years, in June and July, Gil went to Europe and the United States for several presentations and, in November, the book Gilberto Gil: Todos as Letras, edited by Carlos Rennó, was released through Companhia das Letras. The book features comments by the artist on the composition of eighty of his songs. On December 14, Gil performed at Embratel's headquarters in Rio de Janeiro. This show was broadcast in real time over the internet, where Gil released the first single from the new album, "Pela Internet", available from January 1997. In April, the double album Quanta was released. His tour started in São Paulo, and went to Rio, where he stayed for an entire season at Canecão. On May 25, the artist went to São Paulo, where he performed for 35,000 people at Praça da Paz, in Ibirapuera Park. Then, he returned to following the tour of Quanta, going to the interior of the state of São Paulo and traveling the rest of the year, other parts of Brazil, and then the tour going to countries in Europe. The tour ended up becoming a live album, and the recording took place on August 13 and 14, recorded at Teatro João Caetano, in Rio. The album was released in February 1998, with the title Quanta Gente Veio Ver, also known as Quanta: Live. In June and July 1998, Gil launched the "Twentysummers" tour, which commemorates the artist's twenty years in a row across Europe in the summer. On the Pau Brasil label, the artist released another album, Sol de Oslo – a collective project I share with bassist and producer Rodolfo Stroeter, singer Marlui Miranda, Indian percussionist Trilok Gurtu, Norwegian keyboardist Bugge Wesseltoft and accordionist Toninho Ferragutti. With a presentation by Gilberto Gil, the documentary produced by the GNT channel and by Convisão Filmes, entitled Pierre Verger: Messenger between Two Worlds, about the French photographer and ethnologist living in Bahia.

On February 25, 1999, the live album Quanta Gente Veio Ver was voted Album of the Year in the Grammy's "Music of the World" category. Gil would receive the Grammy statuette, in a presentation held in Rio and São Paulo, in May of the same year. In the following month, Universal Music launched the box Ensaio Geral, composed of thirteen albums produced by Marcelo Fróes. This material covers the artist's releases by Philips Records and PolyGram, between 1966 and 1977, and also contains new songs. At the end of the month, the fifth edition of PercPan took place, directed by Gil and Naná Vasconcelos. In June and July, Gil toured Europe and the United States, but returned to Brazil on July 25, for a performance with Ivete Sangalo to 90,000 people, in Praça da Paz, in Ibirapuera Park. In September, the publisher UnB released the book by Bené Fonteles, entitled GiLuminoso, featuring an album recorded by the artist especially for this project. Also in November, alongside Caetano, Gal Costa, Chico Buarque, Elza Soares and Virgínia Rodrigues, the artist performed a presentation known as "Since Samba Has Been Samba", at the Royal Albert Hall, in London. On February 27, 2000, Conspiração Filmes released the documentary Filhos de Gandhy, partially recorded in India, and presented for the first time on the GNT channel. The document was directed by Lula Buarque de Hollanda, under the direction of Gil. In March, the artist participated in the Salvador carnival with his own electric trio, called "Chame-gente", and began recording a new work, with Milton Nascimento. The sixth edition of PercPan - as well as the previous ones, directed by Gil and Naná Vasconcelos -, was divided between Salvador and São Paulo, and in May follows Paris. During this time, Gil was chosen to develop the soundtrack for the film Eu, Tu, Eles. The album, entitled Gilberto Gil ea Canções de Eu, Tu, Eles, contains classics by Luiz Gonzaga, and featured a national tour of the same name. In October, the content recorded with Milton Nascimento ended being produced and Warner Music released the album Gil & Milton. The two started their tour to promote the project in November, and this lasted until December. The two performed at the 3rd Rock in Rio, and Gil about a retinal detachment in his right eye and underwent surgery.

2001–05: Electrocoustic, "Nobel da Música" and awards

During the 2001 carnival, Gil was present in his electric trio, the Expresso 2222, and in his cabin. The following month, the artist returned to perform, promoting the album released by him and Nascimento. In April, the artist began recording material for a special album for the feasts of popular saints. São João Vivo was released in May by Warner Music and earned the artist a gold record in Brazil. Driven by this new work, in June the singer performed the show "Arraial de Gilberto Gil", at Flamengo landfill, in Rio de Janeiro, which marked the beginning of the filming of the documentary Viva São João!, by Andrucha Waddington, released in the year next on June 14 - in theaters. Before that, Gil performed with Japanese pianist Ryuichi Sakamoto and the Jobim-Morelenbaum Quartet at Teatro Alfa, in São Paulo. After that, he began a tour of Europe, and went to Jamaica in November to record a new album, Kaya N'Gan Daya. The eighth edition of the PercPan festival took place in Recife, Pernambuco, now, in addition to Gil, under the direction of percussionist Marcos Suzano. The recording of the versatile digital album Kaya N'Gan Daya took place at DirecTV Music Hall, in São Paulo. The album was finished at the Palco studio, installed on the premises of Gil's producer, Gege, in Gávea, in the south of the city of Rio de Janeiro. This new album was released in May, and featured a tour of the same name that debuted at Canecão.

Gilberto Gil's entire discography released by Warner Music between 1975 and 2002 was released in a box in November. Under the production of Marcelo Fróes, the material had vast unpublished material, such as demos, leftover albums, and also the soundtrack of the film Quilombo, for example. On December 7th and 8th, Doces Bárbaros got together for two presentations: one at Praça da Paz, at Ibirapuera Park, in São Paulo; and another, the next day, on Copacabana beach, in Rio de Janeiro. Also in December, the singer accepted the invitation of the then president of the republic, Luiz Inácio Lula da Silva, and became Minister of Culture. After Christmas, the artist recorded a "live" by Kaya N'Gan Daya, at Teatro João Caetano. This one, would be released in April 2003, with presentations to publicize it. With a month's leave from the MinC, the artist went to Europe, for several presentations with Maria Bethânia. In September, he received the personality of the year award at the Latin Grammy in Miami, United States. The following year, Gil was the attraction of the second Rock in Rio held in Lisbon, Portugal. A tour with ten performances across Europe took place in July, and from August 13th to 15th the artist went to São Paulo to present the show "Eletracustico". He then traveled to Geneva, Switzerland, to participate in the "Piece Concert" at the United Nations, in memory of the victims of the attack on the organization's headquarters in Baghdad.

The following month, Gil went to Rio de Janeiro to record the show "Eletracustico". The album's producer, Tom Capone, died on September 2, in a motorcycle accident in the United States, and Liminha was called to produce the project, which was directed by Bernardo Palmeiro. It was Capone who had convinced Gil to record the show, and the artist dedicated the project to him. The recording of the album took place from September 10th to 12th, at Canecão. And Eletracustico was released on November 26, 2004, by Warner Music. Gil won the Polar Music of the Year award from the Royal Swedish Academy of Music. The award is considered the "Nobel of Popular Music", and was given to the artist for his "creative commitment to bringing the heart and soul of Brazilian music to the world", as well as for his "immense talent, curiosity and firm conviction cultural". The following year, the artist won the Brazilian Music Multishow Award, in the "Music" category, for "Vamos Fugir", he went to Paris to present the show "Viva Brasil", at Praça da Bastilha, bringing together almost 100 thousand people. Electrocoustic, was nominated for the VI Latin Grammy, as "best Brazilian popular music album", but loses to Cantando Histórias, by Ivan Lins. After receiving from the French government the "Légion D'Honneur Grand Officier", he received the news that Eletracustico, was nominated for a Grammy in the category best contemporary album of world music. On December 1st, the artist released, with a presentation at the Ibirapuera Auditorium, in São Paulo, the DVD Show da Paz: Gil na ONU, recorded in 2003 at the organization's headquarters, with the participation of the then secretary general Kofi Annan.

2006–10: The "bands" and Faith in the Party

Gilberto Gil during Teia 2007 at Casa do Conde in Belo Horizonte.

On February 8, 2006, Gil won the second Grammy of his career, with Eletracustico. With two years without composing, Gil wrote "Ballet de Berlin", made for the Brazilian team. That was released a promotional single, "Ballet Berlin", a tribute to the FIFA World Cup. On May 25, the artist performed in Berlin, Germany, initiating the "Culture Cup", and continued to tour Europe, performing in Brussels, Rome, Milan, Istanbul, Paris, Montreux, Corsica, Barcelona , Madrid and Girona, among others. In Brazil, Gil received the title of honor from the Afoxés Bisnetos de Gandhy, in Maceió, Alagoas, releasing the album Gil Luminoso at the beginning of the following month, by Biscoito Fino. The international tour to promote the album, entitled "Banda Larga", began in July 2007. And on August 8, the singer participated in the Marciac Jazz Festival, in France. The project was nominated for a 50th Grammy in the category of best contemporary world music album. Gil, became the first Brazilian artist to have an exclusive channel on the YouTube video site, and on May 15, 2008, he launched Banda Larga Cordel, on the internet. The album features a self-titled tour that spanned the United States and Europe during June and July, and Latin America in October and November. Due to the difficult task of reconciling the ministerial agenda with personal and artistic projects, the singer resigned as minister of culture, on July 30, 2008. Previously, however, the artist had already resigned, in November 2007, but , the then president convinced Gil to stay in office. Banda Larga Cordel was nominated for a Latin Grammy, in the category of "best singer-songwriter album". In April 2009, the artist received the title of Citizenship of the State of Piauí. He went to Europe for a summer tour called "Here and Now". During the tour, he received a diploma from the city of Milan, for being an "ambassador of culture and critical awareness of modern Brazil, political soul of his own country, as well as a universal symbol of social commitment and support for the fight against poverty and hunger in Brazil. world", according to the then mayor, Letizia Moratti. Upon returning to Brazil, he recorded a new live project. Entitled BandaDois, the show was recorded at Teatro Bradesco in Shopping Bourbon, in São Paulo, on September 28 and 29, under the direction of Brazilian filmmaker Andrucha Waddington. The show consists of a performance with "voice, guitar and some guests" only. In November, Gil toured Europe with the project "The String Concert", alongside his son Bem and Jaques Morelembaum. In December 2009, BandaDois hit stores, and the singer continued with the tour "The String Concert", now across the United States.

On June 11, 2010 Gil released his 57th album, via Universal Music. Entitled Fé na Festa, the work was totally dedicated to the festivals of popular saints - and also released at the beginning of the festivities -, with maxixe, baião, xote and forró songs, considered by several critics as a "return to the origins of the Bahian" - since this one had received, as a child, great influence from Luiz Gonzaga. Among the project's songs are "Aprendi com o Rei", homage to Gonzaga, "Dança da Moda", "Marmundo", among others. different regions of the country, promoting the album. This sequence of shows toured Europe as well, known as "For All", with a warm reception. Months later, Rentante arrived in stores across the country. It is a double album with 32 songs from the beginning of Gilberto Gil's career - from 1962 to 1966. Much of this album contains tracks made only with voice and guitar, among the compositions are "Roda", "Me Diga", " Moço", "Ensaio Geral", among others. The research and rescue was carried out by researcher Marcelo Fróes, accompanied by Gil. About the direction of Andrucha Waddington, the tour of the album Fé na Festa became a documentary, with a performance recorded at Retiro dos Artistas, in Jacarepaguá, Rio de Janeiro. Fé na Festa: Ao Vivo, was released on December 9, 2010, and beyond the presentation.

2011–17: The Conspiracy, 70 Years and Other Projects

Months after the release of the documentary Fé na Festa, filmmakers Andrucha Waddington and Lula Buarque de Hollanda, partners of Conspiração Filmes, released a box containing seven DVDs released/about Gilberto Gil and his career. Gilberto Gil's Conspiracy contains documentary directed by Hollanda (Pierre Verger: Messenger between Two Worlds - narrated by Gil - Filhos de Gandhi and Kaya N'gan Daya), while Waddington signs the songs (Banda Dois and iva São João !, as well as the film Eu, Tu, Eles - whose soundtrack is signed by Gil - and the documentary Tempo Rei, co-directed by Hollanda).[80][81] Recorded at Teatro Tom Jobim, in the Rio de Janeiro Botanical Garden, in October 2011, Gil +10: The Portrait of Brazilian Music, it is an acoustic show, where Gil received ten guests to interpret songs from his repertoire. The project was promoted by MPB FM, and was launched by Go2Music. Ana Carolina, Erasmo Carlos, Lenine, Maria Gadú, Mart'nália, Os Paralamas do Sucesso, Mrs. Ivone Lara, Milton Nascimento, Zeca Pagodinho and Preta Gil were invited.

Gil performing in São Paulo, November 2018.

On September 10, 2011, it was announced that the artist would be the protagonist of a documentary directed by the Swiss Pierre Yves and the Frenchman Emmanuel Gétaz and produced by the Brazilian Daniel Rodriguez, about the singer and his travels to three countries in the Southern Hemisphere: Brazil, Africa from South and Australia; portraying the political-geographic connections that unite them. The documentary should also contain scenes from Salvador's carnival in candomblé terreiros, and Gilberto Gil's encounters with South African thinkers and artists, poets and Australian leaders and singers. Connecting South: The New World has no release date yet, but it is expected to be released in 2012. Inspired by the song "Domingo no Parque" (1967), the O Cidadão de Papel Theater Company edited directed by Marcos Oliveira, in Salvador. According to author Leandro Rocha, "the play 'Domingo no Parque' is also a tribute to Gilberto Gil, who manages to address different themes in his musical work, many of them scenically."

To celebrate 70 years of age, the artist started on May 18, 2012, a mini-tour known as "Concert of Strings & Rhythm Machines". He performed in some cities in the country, alongside orchestras, such as the Bahia Symphonic Orchestra - which accompanied the artist on his debut at Teatro Castro Alves, in Salvador. After the performance at the Municipal Theater in Rio de Janeiro, on May 28, where he recorded the commemorative DVD alongside the Petrobras Symphonic Orchestra, the series of performances went to Europe. The project, originally, appeared in 2006, at the time of the release of the album Gil Luminoso, however, only in 2012 it came out of the paper, which now has the conduction of conductors Jaques Morelenbaum and Carlos Prazeres.

The day before Gilberto Gil's birthday, the YouTube website broadcast an hour of the show "Concerto de Cordas & Máquinas de Ritmo", recorded at the Municipal Theater in Rio de Janeiro. On the singer's official channel, it was possible to find exclusive testimonials from several artists talking about Gil, as well as speeches by the artist himself.

On August 5, 2016, he participated in the opening ceremony of the Rio 2016 Olympic Games, singing Isso Aqui, Que É, alongside Caetano Veloso and Anitta.

2018–present: OK OK OK, GIL and other projects

In January 2018, he performed a show with drummers from the Vai-Vai samba school, whose plot for Carnival was inspired by him.

In August 2018 Gilberto Gil releases the album OK OK OK on the Biscoito Fino label. The album was elected the 4th best Brazilian album of 2018 by Rolling Stone Brasil magazine and one of the 25 best Brazilian albums of the second half of 2018 by the Associação Paulista de Críticas de Arte. In 2019, he won the Latin Grammy for Best Brazilian Popular Music Album.

In August 2019, he participated in Rede Globo's Criança Esperança program, where he sang a version of his song Palco with singer Anitta. In the same month, the soundtrack of Grupo Corpo's Spectacle, "GIL", was released. In November of the same year, he performed with the band BaianaSystem. Gil also entered a creative process to write new songs for the album Giro (2019) by singer Roberta Sá, an album produced by Bem Gil.

In 1988, even though he was recording, playing shows and getting involved in social causes, he was elected a councilor in Salvador, his hometown, by the Partido do Movimento Democrático Brasileiro (PMDB) with exactly 11,111 votes. On March 21, 1990, he joined the Green Party (PV), as a member of the National Executive Committee.

In January 2003, when President Luiz Inácio Lula da Silva took office, he appointed him to the post of Minister of Culture, a nomination that led to severe criticism from personalities such as Paulo Autran[98] and Marco Nanini in interviews with Folha de S. Paul.

However, he remained in the post of minister for five and a half years. He left the Ministry on July 30, 2008 to return to devote himself more exclusively to his artistic life. On August 28, he participated in the official inauguration ceremony of his successor in the Ministry, Juca Ferreira.

Positions

Councilor at the City Council of Salvador: 1989 to 1992 (had exactly 11,111 votes).

Minister of Culture: January 1, 2003 to July 30, 2008.

digital freedom

Gilberto Gil is one of the main advocates of Free Software and Digital Freedom. On January 29, 2005, during a debate on Free Software at the World Social Forum 2005, he was widely applauded after defending Free Software and Digital Freedom. Some of your words in this debate:

This entire movement is aimed at a much greater change in social behavior that rethinks the way copyright is treated today.

Remembering that Gilberto Gil recently participated in a free album promoted worldwide by Creative Commons with the song Oslodum.

On March 11, 2007, the US newspaper The New York Times dedicated an article to Gilberto Gil's efforts to "flex copyright". The article, entitled Gilberto Gil Hears the Future, Some Rights Reserved (Gil hears the future, with some rights reserved) praises the work of the minister of culture regarding the alliance formed with Creative Commons in 2003, one of his first actions as minister. "My personal view is that digital culture brings with it a new idea of intellectual property, and that this new culture of sharing can and should inform government policy," said Gil.

Music style and influences

Gil is a tenor, but sings in the baritone or falsetto register, with scattered lyrics and/or syllables. His lyrics are on subjects ranging from philosophy to religion, folktales and wordplay. Gil's musical style incorporates a wide range of influences. The first music he was exposed to included The Beatles and street performers in various metropolitan areas of Bahia. During his early years as a musician, Gil performed mainly in a mix of traditional Brazilian styles with two-stage rhythms such as baião and samba. He says that "My first phase was in traditional ways. Nothing experimental. Caetano [Veloso] and I followed the tradition of Luiz Gonzaga and Jackson do Pandeiro, combining samba with northeastern music." American music critic Robert Christgau said that, along with Jorge Ben, Gil was "always ready to go further than the other samba/bossa geniuses".

As one of the pioneers of tropicália, influences from genres such as rock and punk have been pervasive in his recordings, as well as in those of other stars of the period, including Caetano Veloso and Tom Zé. Gil's interest in the blues-based music of psychedelic rock pioneer Jimi Hendrix, in particular, was described by Veloso as having "extremely important consequences for Brazilian music". Veloso also noted the influence of Brazilian guitarist and singer Jorge Ben on Gil's musical style, along with that of traditional music. After the heyday of Tropicália in the 1960s, Gil became increasingly interested in black culture, particularly in the Jamaican music genre reggae. He described the genre as "a way of democratizing, internationalizing, speaking a new language, a Heideggerian way of conveying fundamental messages."

Visiting Lagos, Nigeria, in 1976 for the Festival of African Culture (FESTAC), Gil met musicians Fela Kuti and Stevie Wonder. He was inspired by African music and later integrated some of the styles he had heard in Africa, such as juju and highlife, into his own recordings. One of the most famous of these African-influenced records was the 1977 album Refavela, which included "No Norte da Saudade", a song heavily influenced by reggae. When Gil returned to Brazil after the asylum, he focused on Afro-Brazilian culture, becoming a member of the Afoxé de Carnaval group Filhos de Gandhy.

On the other hand, their musical repertoire from the 1980s featured an increasing development of dance trends such as disco and soul, as well as the earlier incorporation of rock and punk. However, Gil says that his 1994 album, Acústico MTV, was not such a new direction, as he had already performed disconnected from Caetano Veloso. He describes the method of playing as easier than other types of performance, as the energy of acoustic playing is simple and influenced by its roots. Gil has been criticized for a conflicting involvement in authentic Brazilian music and the world music arena. He had to follow a fine line while remaining faithful to the traditional styles of Bahia and engaging with commercial markets. Listeners in Bahia have been much more accepting of his mix of musical styles, while those in southeastern Brazil feel at odds with it.[

Milton Nascimento (Rio de Janeiro, October 26, 1942) is a Brazilian singer, composer and multi-instrumentalist, recognized worldwide as one of the most influential and talented musicians in Brazilian Popular Music. Born in Rio de Janeiro, but from Minas at heart, he became known nationally when the song "Travessia", composed by him and Fernando Brant, occupied second position at the 1967 Festival Internacional da Canção. songs, names like: Wayne Shorter, Pat Metheny, Björk, Peter Gabriel, Sarah Vaughan, Chico Buarque, Gal Costa, Caetano Veloso, Gilberto Gil, Fafá de Belém, Simone and Elis Regina. He has already received 5 Grammy Awards, being a Grammy Award for Best World Music Album in 1997. Milton has performed in South America, North America, Europe, Asia and Africa.

So far, Milton Nascimento has recorded 34 albums. He sang with dozens of other artists, including Maria Bethânia, Elis Regina, Gal Costa, Jorge Ben Jor, Mercedes Sosa, Caetano Veloso, Simone, Chico Buarque, Clementina de Jesus, Gilberto Gil, Lô Borges, Beto Guedes, Paul Simon, Criolo, Angra, Peter Gabriel, Duran Duran (with whom he co-wrote and recorded the 1993 track "Breath After Breath"),[2] Wayne Shorter, Herbie Hancock, Quincy Jones.

Biography

Milton was born in a favela in the Tijuca neighborhood of Rio de Janeiro. Son of the maid Maria do Carmo do Nascimento, who was abandoned pregnant by her first boyfriend. Maria do Carmo registered her son as a single mother. Even though she was very poor, she tried to raise Milton, with the help of her widowed mother, also a domestic servant, but, still very young, she fell into depression and died of tuberculosis before Milton was two years old. Milton was left in the care of his grandmother.

One of the two daughters of the couple her grandmother worked for, music teacher Lília Silva Campos, was newly married and was not getting pregnant. Immediately, Lilia became attached to Milton and proposed adopting him. The grandmother agreed, as long as they brought him to see him a few times and didn't take his mother's name off the record. The couple agreed and Milton was then adopted by Lília and her husband Josino Campos, owner of a radio station. The family moved to Três Pontas, in Minas Gerais. For a few years he was an only child. Even undergoing treatment, Lilia did not get pregnant. The couple then went to visit orphanages and adopted a boy and, a few years later, a girl. The couple only had one biological daughter a few years later. Milton has always known how to be adopted, as well as his brothers.

He was nicknamed "Bituca" when he was still a child, for doing a job when he was upset, in a reference to the Botocudo Indians. Milton started to like music influenced by his mother, who had studied with Villa Lobos. At the age of four, he got a double bass accordion, and from an early age he explored his voice. At the age of 13, he was crooner of the Continental group of Duilio Tiso Cougo, a musical dance group from Três Pontas.

Milton got married at the registry office and at Capuchinhos Church, in Tijuca, in 1968, to a student named Lurdeca. The couple went to live in Copacabana, but the marriage lasted only a month. After two months apart, the marriage was annulled, returning to the marital status of single. Afterwards, he had several girlfriends, one of them, named Kárita, a very rich socialite from São Paulo, who was his girlfriend for more than five years. Choosing to invest her time and dedication in her artistic career, she didn't want to get married or have children, just keeping casual relationships. Living alone, Milton then decided to become a father, and adopted Augusto, his only son, who was born on June 3, 1993. Milton met him when the boy was 13, in 2005, in Juiz de Fora, city where Augusto resided from childhood. The son has always had a relationship with his mother, Sandra, but from a very young age he had no bond with his biological father. Milton clung to him like a father, and asked if he wanted to be his son. Augusto accepted, and started to split between Juiz de Fora and Rio de Janeiro. When the boy turned 23, in 2016, he was officially adopted, starting to sign the name Augusto Kesrouani do Nascimento, keeping his mother's surname, and including his father's “Nascimento”. In interviews, Milton revealed that his son was the greatest gift he ever received.

professional trajectory

Milton Nascimento, 1969. National Archives.

He recorded his first song, "Barulho de Trem", in 1962. In Três Pontas, he was part of the group W's Boys, who played at balls, alongside Wagner Tiso. He moved to Belo Horizonte to study Economics, where, playing in bars and nightclubs, he began to compose more often; the compositions "Novena" and "Gira Girou" (1964), both with Márcio Borges, date from this period.

In 1966 Milton wrote, in partnership with César Roldão Vieira, the songs for the children's play "Viagem ao Faz de Conta" by Walter Quaglia. In 1967, according to the excerpt on the back cover of the album Milton and Tamba Trio: "Milton Nascimento entered the studio accompanied by 'Tamba Trio', in Rio de Janeiro, in 1967, to record his first album. The meeting of 'Milton & Tamba' with the arrangements of Luizinho Eça make 'Travessia' a definitive and eternally modern album." In the previous year, 1966, the composition "Canção do Sal" was recorded by Elis Regina. At the invitation of musician Eumir Deodato, he recorded an LP in the United States (Courage), in which they recorded a version of "Travessia" called "Bridges". In 1970, he performed seasons in Rio de Janeiro and São Paulo with the Som Imaginário group, highlighting from this period "Para Lennon and McCartney" (1970, with Fernando Brant, Márcio Borges and Lo Borges) and Clube da Esquina. He participated in and composed the soundtrack of films such as Os Deuses e os Mortos (1969, directed by Ruy Guerra), and acted in Fitzcarraldo (1981, directed by Werner Herzog).

Clube da Esquina

In the pension where he went to live in the capital of Minas Gerais, in the Levy Building, Milton met the brothers Borges, Marilton, Lô and Márcio. From the encounters on the corner of Divinópolis and Paraisópolis streets, in the traditional Belorizontine neighborhood of Santa Tereza, the chords and lyrics of songs such as "Cravo e Canela", "Alunar", "For Lennon and McCartney", "Trem Azul", "Nada" emerged It will be As Before", "Stars", "São Vicente" and "Cais". The Beatles and The Platters fans were joined by Tavinho Moura, Flavio Venturini, Beto Guedes, Fernando Brant, Toninho Horta. In 1972, EMI recorded their first LP, Clube da Esquina, which was double.

Milton Nascimento was invited by Wayne Shorter to record an album with him in 1975. The album was called Native Dancer and served to project Milton in the North American market.

Milton Nascimento (1979).

Among other songs, there is "Maria Maria" (1978, with Fernando Brant), and the interpretation of "Coração de Estudante" (Wagner Tiso), which became the anthem of Diretas Já (socio-political movement demanding direct elections, 1984) and the funerals of Tancredo Neves (1985). Later, the "Song of America" was the background theme of Ayrton Senna's funerals (1994).

Diversification

Originally designed for the assembly of the ballet theater at Balé Teatro Guaíra (Curitiba, 1982), the show O Grande Circo Místico was launched in 1983. Milton was part of a select group of MPB interpreters who traveled the country for two years presenting the project. Milton performed the song "Beatriz", composed by the duo Chico Buarque and Edu Lobo. The show tells the love story between an aristocrat and an acrobat and the saga of the Swiss family that owns Circus Knie, who roamed the world in the first decades of the century.

Still taking advantage of the engaged streak of the post-dictatorship, he participated in 1985 in Nordeste Já, the Brazilian version of USA for Africa that created the songs "Chega de Mágoa" and "Seca D'água".

In 2010 Milton Nascimento was honored at the International Choir Festival (FIC) in Belo Horizonte. At the closing of the festival Milton was present and received a tribute from more than a thousand voices who sang a composition by Fernando Brant and Leonardo Cunha "A Voz Coral" made especially for the honoree.

Singer Milton Nascimento and former Federal District governor, Rogério Rosso, talk during the launch of the stamp and coin commemorating Brasilia's 50th anniversary (Valter Campanato/ABr).

In addition, that same year, the singer who is also the godfather of the band Roupa Nova, was honored by the sextet from Rio de Janeiro in a special appearance on the band's live CD/DVD in the track "Nos Bailes da Vida", composed by Milton, as a way of thanking him for what he has done for the group during his 30-year career, as they both came from 'balls'.

Director Marcelo Flores is preparing a film celebrating the 50 years of the singer's career, Milton - A Voz. A hybrid of documentary and fiction, the film will include, in addition to current scenes, recreations of passages from Milton's life with the musician played by Fabrício Bolivaira.

The Tom Maior samba school made Milton its plot for the 2016 parade with the theme: Travessias de Milton Nascimento, in honor of his 50-year career and a party with the participation of the group KLB, Sandra de Sá, Fat Family and Erikka Rodrigues .

In May 2015, he was invited by the Berklee College of Music to be honored of the year at the graduation of 2016 undergraduates and receive the title of Doctor Honoris Causa from that institution, for his vast contribution to music.

Augustine of the Saints

In a documentary about his career shown on TV Cultura in 2008, with testimonies from numerous artists at various times, Milton revealed who was a great promoter of his art in Rio de Janeiro in the late 60s. in a bar, playing the guitar and singing; at ease, he included several of his songs in the schedule. It was in this presentation that Agostinho dos Santos - the self-confessed idol of the "Bituca" fan - met him, became interested in his work and became a personal friend, taking him in tow by the artistic milieu and show business society in Rio de Janeiro, before of its tragic disappearance.

Elis Regina

He elected Elis Regina as "the great inspirational muse" for whom he composed countless songs. Elis' daughter, Maria Rita, had her career catapulted by her godfather Milton Nascimento with her participation in the album Pietá, singing the tracks "Voa Bicho", "Vozes do Vento" and "Tristesse". Then, among the successes of her debut album, the singer had two compositions by Milton, "A Festa" and "Encontros e Despedidas".

In Portugal

In addition to the composition of A barca dos lovers in partnership with Sérgio Godinho and occasional presentations of albums such as Pietà in 2003, Milton Nascimento presented the album 'Novas Bossas' on July 18, 2008, he danced and sang at Coliseu dos Recreios.

Toquinho, stage name of Antonio Pecci Filho ORB (São Paulo, July 6, 1946), is a Brazilian singer, composer and guitarist.

Biography

Antonio Pecci Filho was born on July 6, 1946, in the city of São Paulo. The nickname Toquinho was given by his mother and at the age of fourteen he started taking guitar lessons with Paulinho Nogueira. He studied harmony with Edgar Janulo, classical guitar with Isaías Sávio, orchestration with Leo Peracchi and Oscar Castro-Neves

In 1970 he composed, with Jorge Ben Jor, his first great success, Que Maravilha. That same year, Vinicius de Moraes invited him to participate in shows in Buenos Aires, forming a solid partnership that lasted eleven years (and ended with the death of Vinicius de Moraes), 120 songs, 25 records and over a thousand shows. Among the compositions of the partnership, the following stand out: O Bem-amado, Como said the poet, Carta ao Tom 74, among others.

Toquinho was a good friend of Vinicius de Moraes and says "I enjoyed Vinicius until the end" because they lived together and was at the moment of the death of their eternal partner.

In 1983, he released his biggest hit among children: Watercolor. And so it was forever marked in the history of Brazilian music.

Zé Ramalho, stage name of José Ramalho Neto (Brejo do Cruz, October 3, 1949) is a Brazilian singer, composer and musician. In October 2008, Rolling Stone magazine promoted the List of the One Hundred Greatest Artists of Brazilian Music, whose result placed Zé Ramalho in 41st position. On his father's side, he is also a cousin of singer Elba Ramalho.

Youth

Zé Ramalho, in his twenties, and Geraldo Azevedo, in a photo from the 1970s.

José Ramalho Neto was born on October 3, 1949 in the city of Brejo do Cruz, in the interior of Paraíba, Brazil, 380 kilometers from the capital, João Pessoa, son of Estelita Torres Ramalho, an elementary school teacher, and Antônio de Pádua Pordeus Ramalho, a serpenter. When he was two years old, his father drowned in a dam in the hinterland, and was raised by his grandfather. The relationship between the two would later be honored in the song "Avôhai". After spending most of his childhood in Campina Grande, his family moved to João Pessoa. Zé joined the medical course at the Federal University of Paraíba.

As soon as the family settled in João Pessoa, he participated in some presentations of Jovem Guarda, being influenced by Renato Barros, Leno and Lílian, Roberto Carlos, Erasmo Carlos, Golden Boys, Beatles, Rolling Stones, Pink Floyd and Bob Dylan.

In 1974, her first child with Ízis, Christian, was born.

Before composing, he wrote string verses.

Career

The first works: 1974-1975

Zé Ramalho in the early 1970s

In 1974, he played on the soundtrack of the film Nordeste: Cordel, Repente e Canção, by Tânia Quaresma. At the time, he began to mix his influences: from Rock "n" Roll to forró. A year later, he recorded his first album, Paêbirú, with Lula Côrtes on the Rozenblit label. Nowadays, copies of this disc are worth a lot because they are rare.

Career start: 1975-1984

In 1976, he left medical school and moved to Rio de Janeiro, where he tried to find a record label to release his first album. After being laid off by several producers and executives, he found an opportunity with Jairo Pires, at the time of CBS. In 1977, he recorded his first solo album, Zé Ramalho. The following year, their second child, Antônio, was born.

In 1979, came his third child, João, the result of his relationship with the singer Amelinha, and also his second album, A Peleja do Diabo com o Dono do Céu. work of Cátia de France. He moved to Fortaleza in 1980, where he wrote his book Carne de Pescoço. The third album A Terceira Lâmina was released in 1981, the year in which her first daughter, Maria Maria, was born; soon after, came the fourth album, Força Verde, in 1982.

In 1983, after the release of her fifth album, Orquídea Negra, she ended her relationship with Amelinha Collares. After recording Pra Não Dizer que Não Falei de Rock (also known as Por Those Who Were Well Loved) at the beginning of 1984, he married Roberta Ramalho, to whom he is still married today.

plagiarism charge

Zé Ramalho was accused in the issue of Veja magazine on July 21, 1982 of plagiarizing the lyrics of the song "Força Verde", a text by William Butler Yeats used as an introduction by screenwriter Roy Thomas in a Hulk comic book published in Brazil 10 anos before by the GEA.

Fall in Popularity: 1985-1990

The 80s would be the stage for a fall in the success of Zé Ramalho, with the release of the albums De Gosto de Água and Amigos (1985), Opus Visionário (1986) and Décimas de um Cantador (1987). A possible cause of this bad phase would be the use of experimentalism in music. In 1990 and 1991, he performed in the United States for a Brazilian audience.

Back to Success: 1991-2001

Photo taken from the show O Grande Encontro, in 1996.

In 1991, his only sister, Goretti, died. Even so, he recorded his eleventh album, Brasil Nordeste (which contained re-recordings of typical northeastern songs) and returned to his successful times. The song "Entre a Serpente ea Estrela" was used in the soundtrack of the soap opera Pedra Sobre Pedra. In 1992, he had his fifth child, José, (the first with Roberta), a fact that was followed by the release of the album Frevoador. In 1995, the second daughter was born: Linda.

In 1996, he recorded the live album O Grande Encontro with Elba Ramalho and the famous names of MPB Alceu Valença and Geraldo Azevedo. In the same year, he released the album Cidades e Lendas.

The success of O Grande Encontro was big enough that Zé Ramalho decided to record a new studio version in 1997, this time without Alceu Valença. The album sold over 300,000 copies, receiving gold and platinum certifications.

To celebrate his twenty-year career, he released the CD Antologia Acústica. Sony Music label also released a box set with three discs: one of rarities, one of duets and one of hits. Brazilian writer Luciane Alves launched the book Zé Ramalho – um Visionário of the 20th century.

Before the end of the millennium, another hit Admirável Gado Novo (first released on the album A Peleja do Diabo com o Dono do Céu) was used as the theme for the landless leader Regino, an emblematic character of Jackson Antunes in the soap opera O Rei do Gado. He also released the album Eu Sou Todos Nós, followed by Nação Nordestina, in which northeastern music was once again explored. The album was nominated for the Latin GRAMMY Award for Best Regional or Brazilian Music Album.

The third millennium: 2001-present

Zé Ramalho at Virada Cultural de São Paulo, in 2008.

Zé Ramalho, portrayed in an illustration from 2003.

The first work of the 21st century was the tribute album Zé Ramalho Canta Raul Seixas, with re-recordings of songs by the musician from Bahia. He shared the stage with Elba Ramalho at Rock in Rio III. In 2002, Som Livre released a great hits CD called Perfil, part of the Perfil series. Also in 2002, came the seventeenth album, O Gosto da Criação.

In 2003, Estação Brasil, an album with several re-records of Brazilian songs and an unreleased one was released. He made a special guest appearance on the track "Sinônimos" on the album Aqui Sistema é Bruto, by Chitãozinho & Xororó.

In 2005, he recorded his only live solo album, Zé Ramalho ao vivo. His most recent album, Partnership dos Viajantes, was released in 2007 and was nominated for the Latin GRAMMY for Best Brazilian Popular Music Album.

In 2008, an album of rarities called Zé Ramalho da Paraíba was released by Discoberta, followed by a new album of covers Zé Ramalho Sings Bob Dylan - Tá Tudo Mudando, honoring the American musician.

In 2009, a new album of covers Zé Ramalho Canta Luiz Gonzaga was released to honor the musician from Pernambuco.

In 2010, he continued to pay homage to his influences with the album Zé Ramalho Canta Jackson do Pandeiro.

His most recent cover work is the album Zé Ramalho Canta Beatles, released in August 2011, with re-records by the Fab Four. It's his fourth cover album in three years.

In 2012, he released his first unpublished album in five years, Sinais dos Tempos, through his new own record label, Avôhai Music.

On September 22, 2013, he played alongside the metal band Sepultura on the Sunset stage at Rock in Rio 2013, in the show that was called "Zépultura". The show was highly praised by critics, and pleased the audience. It is worth remembering that this partnership had already happened before, when they recorded together the song "A Dança das Butterflies" which was part of the soundtrack of the film Lisbela eo Prisioneiro (2003).

In November 2014, Zé released a live collaborative album with singer and guitarist Fagner, entitled Fagner & Zé Ramalho Ao Vivo.

In 2017, he released Atlântida, an album that recovers a 1974 show, four years before Zé Ramalho became a success. In 2019, he edited the CD Cine Show Madureira (1979), in partnership with the label Discobertas, by Marcelo Froés.

Elba Maria Nunes Ramalho OMC (Conceição, August 17, 1951) is a Brazilian singer, composer, multi-instrumentalist and actress. His first musical experience came in 1968, playing drums in the female ensemble "As Brasas". Later, the group changed from musical to theatrical. However, Elba continued to sing and participate in festivals throughout the Brazilian Northeast. In 1979, she released her first album, "Ave de Prata", and since then she has established herself as one of the main Brazilian singers in activity.

He has two Latin Grammys for his albums: What's the topic that you are most interested in?, released in 2008 and Balaio de Amor, 2009, in the category Best Album of Brazilian Roots: Regional and Tropical. In more than 35 years of career, Elba Ramalho has sold more than 10 million records. She received the "Best Show of the Year" award from the São Paulo Art Critics Association, on two occasions: in 1989 for the show Popular Brasileira and in 1996 by the North Lion show.

Biography

Elba Ramalho was born in the rural area of Conceição, in the Piancó Valley. In 1962, the family moved to the city of Campina Grande, also in Paraíba. The father became the owner of the local theater. Daughter of a musician, she awakened, which made her interested in music while still in her teens.

In 1966, he participated, for the first time, in a stage presentation at the Manuel Bandeira Artistic and Cultural Foundation Choir, in which he was part, with "Evocação do Recife". The Speaking Choirs Manuel Bandeira and Cecília Meireles gained fame and began to be seen throughout the Northeast, and Elba, who made her first stage performance together with them, soon became the highlight of the presentations. He starred in the poetic productions of Castro Alves, Thiago de Mello, Lindolfo Bell, Carlos Pena Filho and Figueiredo Agra. He participated in the assembly of the plays "Minister of the Supreme" and "Dialogue of the Carmelites".

In 1968, while studying the Faculty of Economics and Sociology at the Federal University of Paraíba, he formed the group As Brasas, in which he acted as a drummer, which later became a theater group. However, Elba did not stop singing, and performed at various festivals in the Northeast.

Career

[[Image:Elba Ramalho in Vassouras III.jpg|thumb|Closing of "Festival Vale do Café 10 years" with Elba Ramalho in Vassouras]

1970s

In 1974, Elba, determined to look for better professional opportunities, moved to the southeast region of the country, but precisely to the city of Rio de Janeiro, where she still lives, in order to be more prominent in her career, at the request of Roberto Santana , producer of Chico Buarque and Caetano Veloso, arriving in Rio with the group Quinteto Violado, to perform as a crooner during a season in the city. In the same year, she participated in the play Viva o Cordão Encarnado, in partnership with the theater group Chegança, by Luís Mendonça, receiving critical acclaim for her hyperactivity on stage, which would become her main feature.

She refused to return to the Northeast, where she dropped out of university and, in Rio de Janeiro, she established herself as a theatrical actress, always playing roles linked to music. Without any support or financial resources, he began to attend Baixo Leblon, where he met artists such as Alceu Valença and Carlos Vereza. In 1977, he acted in the film Morte e Vida Severina, inspired by the homonymous work by Pernambuco author João Cabral de Melo Neto. The following year, he was part of the cast of Chico Buarque's play, Ópera do Malandro, directed by Luís Antônio Martinês Correia, in which he played the prostitute Lúcia. Even as an actress, she won an award for her interpretation of the song O meu amor, with actress Marieta Severo.

The play Ópera do Malandro was released at a time when Chico Buarque's poetics were "very sharp". Elba Ramalho was a prominent presence, which boosted her career as an actress and singer. Therefore, Chico Buarque inserted a recording O Meu Amor, interpreted by Elba and then wife Marieta Severo, for the self-titled album, released in 1978, and also on the double album of the play, released the following year. The song was a great success, and for that very reason, it also deserved a duet by the singers Alcione and Maria Bethânia in the anthological album Álibi, from the latter, released that same year in 1978.

Elba invested in her singing career and recorded her first album, released by the defunct CBS (now Sony Music) — at a time when the record company invested heavily in northeastern artists, in 1979, entitled Ave de Prata, with emphasis on the title track and the songs Canta heart and Não dream mais, the latter composed by Chico Buarque for the soundtrack of the film A República dos Assassinos. The work had several special guest appearances by renowned musicians and composers, such as Dominguinhos, Zé Ramalho, Geraldo Azevedo, Novelli, Vinícius Cantuária, Sivuca, Robertinho from Recife, Nivaldo Ornelas and Jackson do Pandeiro — partnerships that last until today.

The 80s

From then onwards, success gradually appeared, although she herself considers that the theater is present in all shows, being largely responsible for the peculiar scenic force. The presentations have also had relevant success in international theaters, such as the Olympia in Paris, the Blue Note in New York, the Brixton Academy in London and the Festival de Montreux, in Switzerland. The repertoire has remained eclectic throughout this time, bringing typical Brazilian northeastern songs, romantic ballads, rocks, sambas and even North American blues.

In 1980 he recorded his second LP, Capim do vale, which brought songs by old and contemporary northeastern composers, featuring a regional repertoire, with emphasis on the title track and the songs Banquete dos signos, Porto da saudade, Caldeirão dos mitos and Veja ( Margarida), and made the first international tour, in Africa. The following year, he released the album Elba, the last for the CBS record label, with arrangements by Miguel Cidras and José Américo Bastos, which did not have greater repercussion; highlights for the songs Temporal and Cajuína, and two tracks only for voice and guitar — O Request and Eu Quero. In the same year, on July 4th, he performed at the Festival de Montreux, in the already traditional Brazilian night. The show was recorded and then excerpts from the performance were included in the collective album Brazil Night Montreux 81, (which also had excerpts from the concerts by singers Toquinho and Moraes Moreira). Released by the Ariola label, it contains the songs Baião, Tudo azul and the first recording — live — by Bate Coração, xote that definitely put her in evidence. Not being a career record and due to its great success, Elba re-recorded the song in the studio and included it in the following year's work.

The first team of MPB

In 1982, he moved to the extinct record label Ariola/Barclay (currently Universal Music), marking the beginning of the most popular phase in his career, disputing that year's hit parade with other singers such as Gal Costa, Simone, Rita Lee, Beth Carvalho , Baby Consuelo, Amelinha and Clara Nunes. The work that marks her debut on this label — Alegria, produced by Aramis Barros with artistic direction by Mazzola — sold over 300,000 copies, earning her her first gold record, hitting the charts with the forrós Bate Coração, Amor com Café (both by Cecéu) and No som da accordion, by Jackson do Pandeiro, who also played tambourine on the track and died on July 10 of that year; he also performed in Switzerland, Portugal, Israel and also participated in the series Grandes Nomes (TV Globo), alongside Alceu Valença. About the choice of Bate Coração, released by Marinês the year before, Elba comments: A cousin of mine, a doctor, Ari Viana, used to do a lot of research on Marinês' songs, who was my idol, and sent me to listen. In one of these, I bumped into Bate Coração and decided to sing.

The album also featured arrangements by maestro José Américo Bastos and songs by Lula Queiroga (That Joy — Caboclinhos), Alceu Valença (I'm here now), Vital Farias (Seven songs to fly, with his own arrangement and guitar) and Geraldo Azevedo (Menina do lily, recorded in duet with the author). From this album, which earned him his first gold and platinum records, the accent was less heavy, unlike the first three records. Then there was the homonymous show, the first that was highly praised by the press, as it broke with the rustic and somber aesthetic that guided the performances of many of his countrymen in Brazilian music; in this one, there was already a scene of exuberant costumes, combinations of lights and colors and the festive atmosphere of the northeastern streets. About the show, Elba declared: I've shown my theatrical side since my first show, Ave de Prata, but Alegria was the affirmation of that. It was my first show highly praised by the press. It is also a show with theatrical effects, with Elba playing characters that she had played years before in plays, such as Mateus and Catarina. In his repertoire, the song Let Escorrer, by Caetano Veloso, on a poem by Mayawowski, which the censors vetoed its inclusion in the LP, stands out.

In 1983, he released the highly praised album Coração Brasileiro, which had the production of Mazzola and arrangements by Lincoln Olivetti (Smell Bath and Life and Carnival), Luiz Avellar (Bulking and Batida de Trem), César Camargo Mariano (Ave gigana, Canção da farewell and A volta dos trovões), Francis Hime (If I were your boss), the group A Cor do Som (Chororô), Severo (Roendo nail) and Zé Américo (Ai que saudade d'ocê).

The biggest hits in the repertoire were the songs: Banho de fumo (frevo by Carlos Fernando and the opening track of the album), the xaxado Toque de belle (Bastinho Calixto and Ana Paula) — first track to hit the radio —, the tune Canção da farewell (a leap partnership between Geraldo Azevedo and Geraldo Vandré, censored during the military dictatorship) and the xote Ai que saudade d'ocê (Vital Farias). The album featured special guest appearances by Chico Buarque, the groups Céu da Boca and Clothes Nova, and guitarist Robertinho from Recife on the tracks Se eu were your patrão — composed by Chico for the play A Ópera do Malandro — A volta dos thunder (Bráulio Tavares and Fuba) and Vida and Carnaval (Moraes Moreira and Aroldo), respectively. In the track Toque de belle, it had the special participation of accordion players Sivuca, Severo and Zé Américo. The title track, written by Celso Adolfo from Minas Gerais, appeared only as a 15-second vignette; despite appearing in the booklet with the complete lyrics, only the first verses were sung, in the chapel: In my Brazilian heart / I planted a yard / I harvested a path / I set up arapuca / I went to tocaia / I went to war.

The work definitively consecrated the singer and won gold and platinum records, and gave rise to the homonymous show acclaimed by the specialized critics, held at the carioca show house Canecão, breaking for the first time the attendance records registered there in Roberto Carlos' shows; there were 97,000 people in ten weeks, translated into 44 performances, with tickets sold out two weeks before the end of the season. Elba was the cover of Veja in the November 30th edition, being considered by the magazine the biggest star of Brazilian music in 1983, whose cover headline was O Brilliance of the Star, which read: After the success at Canecão and the week of its special at TV Globo, Elba Ramalho reaffirms herself as a unique figure in the world of entertainment. The singer was also the subject of Rede Globo's year-end special, aired on Friday, December 2, 1983.

Regarding the theatrical photos on the back cover, it was the idea of director Naum Alves de Souza, to rewind characters that Elba had played in shows throughout her career; the little angel and the fan on the cover, gifts from her friend Marieta Severo, who by the way introduced her to the director. The following year, German Polygram decided that it would be the first solo work by a Brazilian artist to be released internationally on CD - three years before the format began to be marketed in Brazil with national artists, through the Personality series.

She continued with the album The Way We Like (1984), produced by Mazzola and released at a time when the singer was at the height of success. His repertoire, chosen in four hands with the producer, showed great versatility of rhythms, with emphasis on two northeastern forrós, with accordion and bass drum: the title track (Severo and Jaguar) and Forró do poeirão (Cecéu); from Pernambuco culture, two frevos — Moreno de ouro (Carlos Fernando and Geraldo Amaral) and Energia (Lula Queiroga) and a maracatu (Toque de amor by João Lira and José Rocha); romantic ballads such as Calmaria (by conductor Zé Américo, with Salgado Maranhão) and Amor Eternal (by Tadeu Mathias and Ana Amélia, inspired by a sonnet by Shakespeare), which were part of the soundtrack of the global soap opera Livre para Voar, by Walther Negrão, a tune from Minas Gerais, the opening track Azedo e mascavo (Celso Adolfo) and, ending the album in a tone of protest, the provocative Nordeste Independente (Imagine o Brasil) (Bráulio Tavares and Ivanildo Vilanova), recorded live in the show inspired by the work previous, and one of the most successful moments of the show, but which had not appeared on the album Coração Brasileiro. This song was prohibited from public performance at the time of the disc's release, and the LP was sold with a red seal, written that it was prohibited to broadcast this song. Elba comments: It was a fact that caught the attention, because I was at my peak and that caused a lot of news and curiosity from the public. The arrangements were in charge of José Américo Bastos, César Camargo Mariano (Sour and Brown and Amor Eternal) and Lincoln Olivetti (in frevos).

The next work, Fogo na Mistura (1985), produced by Mazzola and the last of the most popular phase of his career, was born in a period of political effervescence in Brazil, thanks to the campaign for Diretas Já, a process started the previous year, and which reached the climax when Tancredo Neves was elected president of the Electoral College. Elba was engaged in this campaign and participated in several acts in favor of political and artistic freedom. This is reflected in politicized lyrics such as the title track and the frevo Pátria amada, the closing track, which was part of the soundtrack of the homonymous film by Tizuka Yamazaki. About that time, Elba revealed in an interview with Rodrigo Faour: I had a political experience when I was a university student. I was president of the student directory, then I lived very closely through the end of the dictatorship, I saw 'friends disappearing like this', as Gilberto Gil's verses say. In my work, regardless of ideology — I never even liked communists — I was always concerned with touching on the social issue. I think it's important. That's why I also participated in the direct election campaign and became a friend of Tancredo Neves.

After a tour of Cuba, and influenced by singers such as Silvio Rodrigues and Pablo Milanés — she even presented an album that the latter released that same year on Brazilian soil —, three tracks from this album were recorded in Miami with arrangements and execution of Cuban musicians residing there: the title track, by Tunai and Sérgio Natureza — which appears in the opening of the LP —, but the Caribbean theme appeared with greater intensity in the tracks As if it were spring (Canción) (version by Chico Buarque for theme by Pablo Milanés with Batista Nicolas Guillen, recorded by Chico the previous year) and On the road to Cuba (Jaime Alem, currently conductor of the singer Maria Bethânia, but who at the time belonged to Elba's band), revealing himself also in the themes and even in the rhythmic genre, with accentuated Latinity; Throughout her career, Elba would return several times to the Caribbean musical aesthetic — in numbers of the following albums, such as Remexer, Elba and Popular Brasileira, and especially in 1993 when she recorded the album Devora-me totally focused on this sound.

In addition, the album brought a forró (Mexe mexe funga funga, by Severo and Jaguar), first track, samba with a pop footprint (Anjo do Pleasure, by Tadeu Mathias and Jaguar) and rhythmic fusions (Sambaiãozar, by Pinto do Acordeon ). But it also brought the biggest success of his career to date, the romantic tune De volta pro cosiness (by Dominguinhos and Nando Cordel). The song was popularized due to its inclusion in the soundtrack of the global soap opera Roque Santeiro de Dias Gomes, censored for ten years and only released in 1985, featuring veteran and novice actors in the cast, with a massive audience, rarely seen on Brazilian television. .

The music reached the singer's hands in the rhythm of the baião; it was her idea to romanticize the theme, getting an arrangement by Dori Caymmi. Curiosity: the singer and composer Caetano Veloso paid tribute to this interpretation of the singer in the song Pra nada, recorded by him in 1997 on the album Livro, in which he pays homage to and mentions his favorite interpretations; when it comes to Elba's turn, it is said: Elba singing Back to the coziness.

Miscellaneous jobs

The following year came the album Remexer, the last to be produced by Mazzola, simulating a foray into new rhythms and trends. The arrangement of the opening title track, by Luiz Caldas and Carlinhos Brown, evokes the lambada that two years later would burst in Brazil; the repertoire explored a variety of rhythms, sounds and high tones, including João Bosco (Odilê odilá, with a special guest appearance, who wrote the song in partnership with Martinho da Vila), romantic ballads (Dream of a summer night and Crying and singing - the latter, widely performed in the Northeast, also earned him a clip for the global program Fantástico, along with actor and singer Maurício Mattar), composer Cazuza (Only if it's for two), forró (Forró temperado and Neném woman - whose excerpt of the recording was shown on Rede Globo's Globo Repórter program, where Elba was considered the most popular singer in the country that year), the track Boca do balloon and two closing frevos - Caia na real by Carlos Fernando (as the last two, with arrangement and keyboards by Lincoln Olivetti), and the engaged Sai da Frente, by Gonzaguinha, which marks the end of the military dictatorship in Brazil, marking the political and cultural achievements of the Brazilian people. A curious detail: shortly before the release, the label released a single containing the track Boca do balloon, with two versions, one of which was remixed - on the B side

The album Elba (1987) brought, among others, the songs Folia Brasileira - forró that made a video for the global program Fantástico -, romantic ballads (Come stay with me, Remembering you and Corcel in the storm) and Da mesa para acama.

The work Fruto de 1988 brought the song dedicated to his son Luã, born the previous year (June 25), the closing track of the album, written by Maurício Mattar and Geraldo Azevedo, and also the re-recording of the song Palavra de Mulher - composed by Chico Buarque in 1985 for the play A Ópera do Malandro, recorded by Elba on the play's disc (1985), with another version in Fruto from 1988. Among other songs, there is Estrela grande (Caetano Veloso) and the opening track Doida, by Nando Cordel, recorded in the lambada style. On the album Popular Brasileira (1989), released in the first half of that year, he recorded two songs by Nando Cordel - in this case, the forró Jogo de girdle, the opening track and the lambada Vê Estrelas -, in addition to the title track and the song The wheel of time. The show based on the promotion of this album ended up giving rise to the first live album, Elba ao vivo (recorded at the Palace), bringing the best moments of the show, amid tours in Europe and the USA, with slightly less regional repertoire and arrangements, whose biggest hit hits a ride in the lambadas fashion, Ouro pura, which was included in the soundtrack of the soap opera Rainha da Sucata by Sílvio de Abreu. The song, which was well performed, originated a video for the program Fantástico, together with dancer Carlinhos de Jesus on Avenida Rio Branco, in Rio de Janeiro. In February 1989, at age 37, he did a measured rehearsal for Playboy magazine.

1990s

In 1991, he released the album Felicidade Urgent, which was produced by Nelson Motta, arranged by conductor and pianist Eduardo Souto Neto and guest appearances by Lulu Santos on the track Vida, Cláudio Zoli on the title track, Djavan on Ventos do Norte, Sandra de Sá in the song Maré dendê and Oswaldinho do Acordeon in the closing track - the famous La vie en rose, originally recorded by the French singer Edith Piaf; the work mixed new songs and re-recordings (Vida, Morena de Angola, Pisa na fulô, É d'Oxum and La vie en rose); the following year it was the turn of Encanto, produced by the singer herself, whose repertoire showed a good balance between forrós and romantic songs and featured a special guest appearance by Margareth Menezes on the track Cidadão.

In 1993, the album Devora-me simulated a foray into the Latin sound, having been recorded in Puerto Rico and produced by Glenn Monroig; in interviews at the time, Elba stated that despite being born on Brazilian soil, Elba intended to expand her music to other audiences in South America. soap opera by Rede Globo Tropicaliente, by Walther Negrão. The international version of this work brought a bonus track - in this case, the aforementioned track Coração da gente translated into Spanish, but it also brought versions of Caribbean songs (Cora Coração, Devora-me Again, Força Interior and Desesperada). Prior to this work, in the same year the compilation O Grande Forró by Elba Ramalho was released, a selection of songs belonging to the singer's previous albums, with two new tracks: Chegadinho and Eu Quero meu amor - the latter was also part of the repertoire of Devora-me and the soundtrack of the global soap opera Renascer, by Benedito Ruy Barbosa.

The work that marks the departure of the Polygram label is Landscape (1995), whose main highlight was the re-recording of Landscape in the window, which was part of the soundtrack of the remake of the soap opera Irmãos Coragem. Since then, she is considered one of the main interpreters of Brazilian music, with expressive sales, thanks to the presence of stage and unmistakable voice. At the feast of St. John, held annually in Campina Grande, Elba's presence is already traditional, as the most anticipated show.

In 1996, he released the acclaimed and successful CD Leão do Norte, which marked his debut on the BMG label and sold over 300,000 copies, exalting the culture of the Northeast and Pernambuco (with the title track by Lenine and Paulo César Pinheiro). The homonymous show was directed by Jorge Fernando and had relevant success throughout Brazil, winning the award for Best show of the year, by the São Paulo Art Critics Association, and also originated a VHS containing the best moments of the show. That same year, he toured with the show O grande Encontro, together with Alceu Valença, Zé Ramalho and Geraldo Azevedo. The first album in the trilogy sells over a million copies, featuring classics from Brazilian popular music and northeastern music. Also in 1996, the singer was honored by the Vizinha Faladeira samba school at the carioca carnival, with the popular Brazilian Elba theme.

In 1997, the album Baioque arrived in stores, consisting basically of re-recordings of urban music by northeastern authors, such as Raul Seixas (SOS), Belchior (Parallels), Ednardo (Mysterious Peacock), Zé Ramalho (Vila do sossego), Caetano Veloso (Os argonauts), Gilberto Gil (Let's Escape), Lenine (Relampiano), Alceu Valença (Ciranda da rosa red), among others; like the previous work, this one was also produced by musicians Robertinho do Recife who was also responsible for some arrangements and conducting. The show doubled the partnership with Jorge Fernando and the success of the show based on the previous album and the reissue of this CD brought the bonus track Paris, which was not included in the original version. Thanks to the success of the project O grande Encontro, a second volume of the album was released, but this time it only did not have the participation of Alceu Valença, in addition to touring throughout Brazil; his repertoire brought successes by the three artists.

In 1998, he released the CD Flor da Paraíba, the last of the trilogy produced by Robertinho de Recife, featuring some re-recordings and unpublished songs by northeastern composers, prioritizing songs in the style of forró. The album's title is inspired by a dedication made, many years ago, by the singer and composer Caetano Veloso, when the singer had just arrived in Rio de Janeiro to emerge in the musical world.

Twenty years

In 1999, Elba Ramalho celebrated twenty years of her career with the double album Solar, one recorded live during the June festivities at Concha Acústica at Teatro Castro Alves, in Salvador, and the other in the studio, with arrangements by pianist Wagner Tiso (Canção Farewell and Immaculate) and cellist Jaques Morelenbaum (Woman's Word). The repertoire brought re-recordings of old hits among other classics and new songs.

The album featured special guest appearances by Chico Buarque (No dream more, the initial success), cousin Zé Ramalho (Silver Bird), Lenine (Nó Cego), Nana Caymmi (Imaculada), Geraldo Azevedo (Kukukaya), Margareth Menezes (Who is very dear to me), Dominguinhos (Portrait of life), Renata Arruda (Seven songs to fly) and Alceu Valença (in the unreleased Trem das ilusões) - all from the first CD, recorded in the studio; the second CD featured a special guest appearance by Gerônimo on the track É D'Oxum.

The double album Solar, in August 2000, had more than 150 thousand copies sold, earning the singer a gold record.

The show to promote the album Solar, was released in October 1999 at Canecão, in Rio de Janeiro. In 2000, he toured not only in Brazil, having spent almost two months in Europe (Italy, Germany, Switzerland, Portugal and France), as well as performing in September of the same year in the United States, returning again to France.

great meetings

[[File:O Grande Encontro 1 (Alceu Valença, Zé Ramalho, Elba Ramalho and Geraldo Azevedo).jpg|miniaturedimage|Alceu Valença, Zé Ramalho, Elba Ramalho and Geraldo Azevedo.]] In 2000 the singer met again with her partners Geraldo Azevedo and Zé Ramalho to record the CD and DVD O Grande Encontro III – Live, in Rio de Janeiro, with the special participation of Lenine, Belchior and Moraes Moreira.

Then followed with Geraldo Azevedo to Los Angeles - USA, where they recorded a live album, destined for the North American market. In the repertoire are songs that were successful in the voice of both artists. Returning to Brazil, Elba was invited to participate in the Rock In Rio III event, along with Zé Ramalho. Elba is also the only Brazilian artist to participate in all editions of Rock In Rio in Brazil.

The following year, he released the album Cirandeira, containing forrós, xotes and baiãos; the work featured special guest appearances by Lenine (in the opening title track), Geraldo Azevedo (in the songs Se eu Tinha Asa and Estrela Sovereign, the latter, in addition to being the closing track, is also a tribute to Our Lady) and Zeca Baleiro (in the songs Alma nua and Sem ganzá é não coco), and brought two re-recordings: the classic Patativa (Vicente Celestino) and the little-known Forró de Surubim, by Antônio Barros, but the first work song was the romantic Entre the sky and the sea, which was part of the soundtrack of the soap opera Porto dos Milagres, by Aguinaldo Silva.

In the album Elba canta Luís (2002), he paid tribute to Luís Gonzaga, O Rei do Baião, a composer from whom he received great influence and who had already recorded songs in previous works. Luís was the main name responsible for the popularization of northeastern genres in the Rio-São Paulo axis. The album, which featured renowned and little-known songs by Mestre Lua, featured special guest appearances by Dominguinhos (Canta Luís), Fubá de Taperoá and Dió de Araújo (Calango da Lacraia) and Zeca Pagodinho (O Xamego da Guiomar), as well as originated a show based on the promotion of this, from which a live CD and a DVD came out, both recorded in Rio de Janeiro - Elba ao vivo (2003) which also featured the classic Luar do Sertão, by João Pernambuco and Catulo da Paixão Cearense. The work that marks the departure of the BMG label is Baião de Dois (2005), recorded with Dominguinhos and prioritizing his songs, as well as songs by the Falamansa (Chama) and Zezum (Onde está voce) groups.

Independently, in 2007 released the acclaimed CD What is the subject that interests you the most? which featured the production of Lula, Yuri and Tostão Queiroga. The CD discusses themes that occupy the news and question contemporaneity; from the usual northeastern people - frevo, boi maranhense, ciranda, xote - to samba. The album won him the Latin Grammy Award in 2008 in the contemporary regional category and inspired the DVD Raízes e antennas, released in the same year, a mix of documentary and live recording.

The year of 2009 marks the three decades of his career, with the most recent album Balaio de amor, released by the independent record company Biscoito Fino, whose repertoire is composed of romantic ballads with songs from the new crop of composers from the Northeast. In the same year, the old CDs - original LPs that had been previously re-released on CD - from the most popular phase of his career, Alegria, Coração Brasileiro, The Way We Like It and Fogo na Mistura (released between 1982 and 1985), which were out of print for a long time, returned to stores, with full original fronts, back covers and liner notes - in the previous reissue it had been suppressed or reduced -, lyrics to all songs, new remastering and internal text with the album's story in the booklet , written by journalist and music critic Rodrigo Faour, who also conceived the collection. The same happened in 2010 with the album Elba (1981), in the series Music Hunters by Sony Music, the only one that still remained unpublished in digital format.

Controversy

In 2001, a journalist from Veja magazine claimed in an article that Elba had said at a UFO congress in Curitiba that she had been chipped by extraterrestrials. The claim yielded a lawsuit for moral damages against the magazine, but the verdict announced in 2006 did not gain the singer.

Musicality

In its CD version, the album Elba ao Vivo, from 1990, brought an edited version of the song Doida and two more songs — in this case, Tango de Nanci (Chico Buarque) and the independent Northeast potpourri / Asa Branca. This also happened with the albums Encanto (1992), with the bonus track Eu vai amo, and Landscape (1995) — this one, the last one to have a vinyl version, with one song less, which is I want to put mine block on the street (Forró/frevo). These had not been included in their original LP due to space limitations.

The DVD O Grande Encontro 3 brought three more songs compared to the CD edition; they are: Barcarola do São Francisco, Canção agalopada and A vida do traveller.

Personal life

In 1973, at the age of twenty-two, Elba was abandoned pregnant by her first boyfriend, a twenty-three-year-old boy. It was her first pregnancy. Elba, who was still living in Campina Grande at the time, was desperate, afraid of her parents' reaction to having a single mother daughter, as well as financial difficulties to raise a child alone. Elba then traveled to Recife, the capital of Pernambuco, where she sought a clandestine clinic, and there she performed an abortion, at two months of pregnancy. The artist hid this matter from her family, and only revealed it in 1997 to Veja Magazine, where she informed that she had severe pain and hemorrhage during the procedure, which later caused her difficulty in getting pregnant and that she would not take this attitude again, even if not wanted the child.

In 1983, she started dating actor and singer Maurício Mattar, thirteen years younger. In 1985 they were married in a civil ceremony. Elba wanted to get pregnant, but she wasn't getting it. After two years undergoing hormonal treatments, she managed to have a child, whom she named Luã Ramalho Mattar. After suffering some hemorrhages during her pregnancy, requiring rest, her son was born prematurely at 8 months of gestation, on June 24, 1987, at the Santa Clara clinic, in Campina Grande, Paraíba, on the night of Festa de São João, in that Elba sang to a crowd of people, along with Luiz Gonzaga and Dominguinhos. The doctor responsible for Elba's normal birth was Dr. João Figueiredo do Amaral. After the birth of Luã, and the end of June festivities, Elba went to perform in Europe and then returned to Rio with Maurício and his son. The couple divorced in 1990, and to this day they maintain a friendly relationship.

She was married to model Gaetano Lopes, twenty-five years younger, from 1996 to 2008. They were introduced by a mutual friend, Sérgio Matos, in 1996, and after two months of friendship, they fell in love and ended their other relationships. and moved in together that same year. The couple formalized the union in a civil ceremony in 2003, and in 2008, Elba, being very Catholic, fulfilled her dream of getting married dressed as a bride, with the blessings of a priest: They got married in religious, at Igreja São Batista, in Trancoso, Bahia, city where she has owned a mansion since 1980, and until today she holds parties in this residence, gathering friends and family. Elba and Gaetano have two daughters: Maria Clara, adopted in 2002, and Maria Esperança, adopted in 2007. Elba, despite already having a biological son, always had the dream of adopting and was also unable to get pregnant again after the birth of her son. have a girl; her husband Gaetano was barren, and he also wanted to be a father. Eight months after their religious marriage, Elba and Gaetano divorced.

Already divorced from Gaetano, Elba adopted another girl, Maria Paula, in 2008. She already knew the girl's family before the child was born. The adoption process was more difficult, being single and having already adopted two other daughters, but she managed to give another sister to her other Marias. The artist named all her daughters Mary as a tribute to Mary, mother of Jesus, to whom she is very devoted.

After the divorce, she started dating accordion player Cezinha, thirty-three years her junior. The relationship lasted two years, ending in 2010. Shortly after the end of the relationship, the artist was diagnosed with breast cancer, and after undergoing chemotherapy and radiotherapy, she was cured in 2012. In interviews she revealed that she was constantly attacked by her ex- boyfriend Cezinha, who was an alcoholic and very jealous, revealing that she was pursued by him for more than a year, as he did not accept the separation.

Since the breakup of their relationship, they have had casual relationships with anonymous and famous men, but have not taken on any serious relationships for the media.

Elba Ramalho became Esmeralda Mezkta Ramalho Mattar's grandmother on April 16, 2020, daughter of Luã, singer and composer, with Amanda, model. The girl was born eight months premature, coming to the world of normal birth, in Rio de Janeiro.

Elba is the paternal cousin of singer Zé Ramalho.

In interviews, she revealed that since 1990 she has been exercising daily, where she became a vegetarian and a practitioner of yoga and meditation, stating that these practices maintain her joy of life, balance and beauty.[

Raimundo Fagner Cândido Lopes, better known only as Fagner (Orós, October 13, 1949), is a Brazilian singer, composer, instrumentalist, actor and producer, and one of the members of the so-called Pessoal do Ceará

Fagner's name has been included in the list of greatest Latin music singers, mainly due to his affiliation with other non-Brazilian Latin musicians such as Mercedes Sos

childhood and family

Born in Fortaleza, capital of the state of Ceará, he was registered and considers himself born in the municipality of Orós, where he grew up, spent his childhood and still visits regularly.

He is the youngest of the five children of José Fares Haddad Lupus, a Lebanese immigrant, and Francisca Cândido Lopes.

Career

First years

Raimundo Fagner was born on October 13, 1949, registered in the city of Orós, in the interior of the state of Ceará, and baptized on December 27 at Igreja do Carmo in Fortaleza. At age six, he won a children's contest on local radio, singing a song in honor of Mother's Day. In adolescence, he formed vocal and instrumental musical groups and began to compose his own music. In 1968, he won the IV Festival of Popular Music of Ceará with the song "Nada Sou", a partnership between him and Marcus Francisco. Became popular in the state in 1969, after appearing in auditorium television shows on TV Ceará, and joined other Ceará composers such as Belchior, Jorge Mello, Rodger Rogério, Ednardo and Ricardo Bezerra, the group became known as "the staff of Ceará". Also in 1969, after winning the 'I Festival of Popular Music of Ceará - Aqui no Canto', Fagner went on a tour with the Capela Cistina music and theater group, they went to Buenos Aires by bus, the trip lasted 45 road days.

Fagner's national career began quite unpredictably. He moved to Brasília in 1970 to study architecture at the University of Brasília, participated in the Festival of Popular Music at the Centro de Estudos Universitário de Brasília with "Mucuripe" (partnership with Belchior), and ranked first. At the same festival, he received an honorable mention and prize for best performer with "Cavalo Ferro" (in partnership with Ricardo Bezerra) and sixth place with the song "Manera Fru Fru, Manera" (also with Ricardo Bezerra). From then on, Fagner managed to arouse the attention of the Southeast press, with his songs being intensely performed in bars.

1970s

Fagner (1973)

Fagner, Ronaldo Bôscoli, Luís Carlos Miele and Elis Regina, 1972.

In 1971 he recorded his first single single in partnership with another from Ceará, Wilson Cirino. It was released by the RGE label, and was not a great success. The label's objective was to beat the success of singers like Antônio Carlos and Jocafi. Still in 71, he went to Rio de Janeiro, where Elis Regina recorded "Mucuripe", which became Fagner's first success as a composer and also as a singer, as he recorded the same song in a compact from the series Disco de Bolso, by Pasquim, which had, on the other side, Caetano Veloso interpreting "A Volta da Asa Branca".

The first LP, Manera Fru Fru, Manera, came in 1973 by Philips record label, including "Canteiros", one of her biggest hits, music about poetry by Cecília Meireles. The album had the participation of Bruce Henri – bassist born in New York and based in Brazil, having been part of Gilberto Gil's band – Naná Vasconcelos and Nara Leão. catalog, and was only re-released in 1976. The singer also made the soundtrack for the film "Joana, a Francesa" in 1973, which took him to France, where he took lessons in flamenco guitar and singing.

Back in Brazil, in 1975 he recorded his second studio album, entitled "Ave Noturna", and was released by the Continental label. The album achieved considerable sales success, and for the first time, Fagner had one of his songs on the soundtrack of a soap opera, "Beco dos Baleiros", by Petrúcio Maia and Brandão, in the soap opera "Ovelha Negra" on TV Tupi. Also on the Continental label, he recorded a single single with Ney Matogrosso.

His third album, on the CBS label (Raimundo Fagner), was a success in sales (in the first week, more than 40 thousand copies were sold. His fourth album, 1977's Orós, was arranged and musically directed by Hermeto Pascoal. In the 1970s, he released two more albums: Eu Canto (1978) with another poem by Cecília Meireles – "Motivo", set to music by Fagner and even with the poetess credit, the LP had problems with the heirs and had to be re-released with the music "Who will take me is me" in place of "Motivo" and Beleza (1979). Eu Canto was his first commercial success and also contained "Revelação", with a guitar solo played by Robertinho de Recife. It was written after Roberto Carlos asks him at one of his concerts when he would start singing to "the people".

By signing with CBS, Fagner demanded to be hired as a producer as well, and so he helped launch several names from the Brazilian Northeast, including Zé Ramalho, Elba Ramalho, Amelinha and Robertinho de Recife himself. The label started to contain so many artists from the Northeast and, mainly, from Ceará, that it was nicknamed "Bem-Successful Cearenses".

1980s

The first LP of the 1980s was Eternas Ondas, which featured Zé Ramalho, Dominguinhos, Naná Vasconcelos, and many others. On this same album, Fagner made a version, with the help of Frederico Mendes, of the John Lennon and Yoko Ono classic "Oh My Love", from the 1971 album Imagine. Taking advantage of Fagner's peak in his career, the Continental label released the album Together - Fagner and Belchior, a compilation that contained tracks from the album Ave Noturna, Fagner's only album released by Continental.

Polydor, in turn, put the Manera Fru Fru Manera album back for sale. In 1981, Fagner recorded the album Tradução, a major milestone in his career. The disc was released throughout Europe and Latin America. Also in 1981 he released an album in Spanish, an old career dream. In 1982, he released Sorriso Novo, whose songs were poems by Fernando Pessoa and Florbela Espanca set to music by Fagner. In 1983, he recorded Palavra de Amor, which featured the group Roupa Nova and Chico Buarque. In the following years, he recorded the albums A Same Pessoa and Semente, the last ones with the CBS label. Alongside the band Blitz, Gonzaguinha and others, Fagner participated in the 12th World Youth Festival, held between July and August 1985, in Moscow.

In 1986, he released his first album on the RCA label, under the name of Fagner - A lua do Leblon. In 1987, Fagner released another album: Romance no Deserto (Portuguese title of a song written and recorded by Bob Dylan on the Desire album). This disc surpassed the mark of 1 million copies sold, and was also released in the United States, imported by BMG Music/New York; the songs "Deslizes", "À Sombra de um Volcão" and the title track were among the most played in Brazil for more than 700 days. The last album of the decade, O Quinze, the fifteenth album of Fagner's career, received the Sharp Award for best album of the year.

1990s

The first album of the decade, Pedras Que Cantam from 1991, had as its first working song "Borbulhas de Amor", which is an adapted version of the homonymous song, in Spanish, by Dominican singer Juan Luis Guerra. Fagner went two years without releasing a new record. It took twenty months of preparation until the album Demais was released in May 1993. The album revives the main themes of Bossa Nova, with versions of songs by Vinicius de Moraes, Tom Jobim and Dorival Caymmi. The following year, he released the album Caboclo Sonhador, this time with forró classics, with versions of songs by Dominguinhos, Luiz Gonzaga and several others.

The disc does not have any songs of his own. In 1995, he settled in Fortaleza, and released another album: Retratos. The album recovered songs from the late 1970s, not yet recorded by Fagner. The twentieth album of his career was released in 1996 with the title Pecado Verde. that same year, Fagner completed 23 years of artistic career. The last album of the 1990s was Terral, which did not have any songs of his own.

2000's

In 2001, he recorded the album entitled Fagner alone. It has songs in partnership with Zeca Baleiro, Fausto Nilo, Abel Silva and Cazuza. The partnership between Fagner and Zeca Baleiro resulted in a studio album and a live DVD in 2003 with the title "Raimundo Fagner & Zeca Baleiro" in addition to a series of concerts throughout Brazil. In 2004, through Indie Records, Fagner released the album Donos do Brasil. The penultimate record released by Fagner was Fortaleza, in 2007. Subsequently, he released "Uma song no Rádio" containing a new partnership with Zeca Baleiro in 2009.

2007

In 2007 in an interview with QUEM magazine, Fagner assumes that he has had relationships with men. Asked about being bisexual, he makes it clear that he doesn't like labels.

Fagner on TV Brasil, 2014

2011

In 2011 Fagner was considered one of the 30 most influential people from Ceará in the year, according to a poll conducted by the magazine Fale!

2014

In 2014 he released his first unpublished album, Birds Urbanos, after 5 years and returning to partnership with Sony Music. In November 2014, Fagner released a live collaborative album with singer and guitarist Zé Ramalho, titled Fagner & Zé Ramalho Ao Vivo, also on Sony Music.

2020

In 2020, he releases, in digital format, together with Zeca Baleiro through Saravá Discos, the album Raimundo Fagner and Zeca Baleiro - Ao vivo em Brasília, 2002. The performance in Brasília (DF) was discovered by chance and generated the live album with 10 show numbers and two studio-recorded bonus tracks.

In December 2020, he inaugurated a partnership with the Biscoito Fino record company and released the album Serenata, a selection of serenades and popular music classics originally recorded by the great voices of the Radio Era. The title song revealed Fagner's very special collaboration with Nelson Gonçalves, made with the help of technology, based on the original voice of the recording that Nelson released in 1991

Antonio Carlos Brasileiro de Almeida Jobim (Rio de Janeiro, January 25, 1927 — New York, December 8, 1994), better known by his stage name, Tom Jobim, was a pop composer, conductor, pianist, pop singer , Brazilian arranger and guitarist. He is considered the greatest exponent of all times of Brazilian popular music by Rolling Stone magazine and one of the creators of the bossa nova movement, with his music and melody, alongside the lyrics and poetry of Vinicius de Moraes and the voice and guitar of João Gilberto.

Biography

Son of Rio Grande do Sul diplomat Jorge de Oliveira Jobim and Rio de Janeiro housewife Nilza Brasileiro de Almeida, Antonio Carlos Brasileiro de Almeida Jobim was born at 634 Conde de Bonfim street, in the Tijuca neighborhood of Rio de Janeiro (at the time Distrito Brasileiro Federal). He moved with his family the following year to Ipanema, where he grew up. The father's absence during childhood and adolescence imposed on him a contained resentment, developing in the conductor a deep relationship with sadness and melodic romanticism, transferred peculiarly to harmonic and melodic constructions. He learned to play the guitar and piano in classes, among others, with the German teacher Hans-Joachim Koellreutter, who introduced the dodecaphonic technique in Brazil.

The composer's paternal great-grandfather, José Martins da Cruz Jobim, was from Jovim, Gondomar, Portugal. Jobim's surname alludes to this location. The composer's great-grandmother, Maria Joaquina, was the half-sister of the Baron of Cambaí, Antônio Martins da Cruz Jobim. He was also a descendant of the pioneer Fernão Dias Pais.

Personal life

On October 15, 1949, Antonio Carlos Jobim married Thereza de Otero Hermanny (1930), with whom he had two children, Paulo (1950) and Elizabeth (1957).

In 1976, Tom met the photographer Ana Beatriz Lontra, then 19 years old, the same age as his daughter Elizabeth. On April 30, 1986,[4] they were married.[5] Tom and his second wife had two children together, João Francisco (1979-1998) and Maria Luiza Jobim (1987).

professional trajectory

He thought about working with architecture, going to the first year of college and even working in an office, but soon gave up and decided to become a pianist. He played in bars and nightclubs in Copacabana, such as Beco das Garrafas in the early 1950s, until in 1952 he was hired as an arranger by the label Continental, where he worked with Sávio Silveira. In addition to the arrangements, it also had the function of transcribing to the staff the melodies of composers who did not master musical writing. The first compositions date from this period, the first recorded being “Incerteza”, a partnership with Newton Mendonça, in the voice of Mauricy Moura.

Tom Jobim, 1965.

After Continental, he went to Odeon. However, he did not have as much time to devote himself to composition, which interested him more. It was at this time that he composed some sambas, in partnership with Billy Blanco: Tereza da Praia, recorded by Lúcio Alves and Dick Farney for Continental (1954), Solidão ea Sinfonia do Rio de Janeiro. Tereza da Praia was the first success. After that, there were other partnerships, such as with the singer and songwriter Dolores Duran, in the song Se é por Falta de Adeus.

In 1953, the songs Faz a Semana and Pensando em Você were recorded by Ernani Filho. Still in the 50s, with Vinicius de Moraes, Tom Jobim produced the songs for the play Orfeu da Conceição and, later, for the film Orfeu do Carnaval or Orfeu Negro, directed by Marcel Camus, alongside Luiz Bonfá and Antônio Maria.

The anthological song Se Todos Fossem Iguais a Você, recorded several times, was very successful in this piece. Tom Jobim was part of the embryonic core of bossa nova. The LP Canção do Amor Demais (1958), in partnership with Vinícius and interpreted by Elizeth Cardoso, was accompanied by the guitar of a hitherto unknown Bahian, João Gilberto. The orchestration is considered an inaugural bossa nova milestone, due to the originality of the melodies and harmonies. It includes, among others, Canção do Amor Demais, Chega de Saudade and Eu Não Existo sem Você. arrangements and musical direction by Tom, who sealed the paths that Brazilian popular music would take from then on. In the same year it was Sílvia Telles' turn to record Amor de Gente Moça, an album with twelve songs by Tom, including Só em Teus Braços, Dindi (with Aloysio de Oliveira) and A Felicidade (with Vinícius).

Tom was one of the highlights of the Carnegie Hall Bossa Nova Festival, in New York, in 1962. The following year he composed, with Vinícius, one of the biggest hits and possibly the most performed Brazilian song abroad: Garota de Ipanema. In the years 1962 and 1963, the number of “classics” produced by Tom is impressive: Samba do Avião, Só Danço Samba (with Vinícius), Ela é Carioca (with Vinícius), O Morro Não Tem Vez, Useless Landscape (with Aloysio) , I live dreaming. In the United States he recorded records (the first individual was The Composer of Desafinado, Plays, from 1965), participated in shows and founded his own label, Corcovado Music. In 1964, competing with the Beatles, the Rolling Stones and Elvis Presley, Tom Jobim won the Grammy for Music of the Year for "Girl from Ipanema".

Tom Jobim and Chico Buarque at the Festival Internacional da Canção (FIC), 1968. Arquivo Nacional.

Success outside Brazil made him return to the US in 1967 to record with one of the great American myths, Frank Sinatra. Francis Albert Sinatra & Antonio Carlos Jobim, arranged by Claus Ogerman, included English versions of Tom's songs (The Girl From Ipanema, How Insensitive, Dindi, Quiet Night of Quiet Stars) and American compositions such as I Concentrate On You , by Cole Porter. In the late 1960s, after releasing the album Wave (with the title track, Triste, Lamento, among other instrumentals), he participated in festivals in Brazil, winning first place at the III Festival Internacional da Canção (Rede Globo), with Sabiá, in partnership with Chico Buarque, played by Cynara and Cybele, from the Quarteto em Cy. Sabiá won the jury, but not the entire audience, which largely preferred the winner to be "Pra Não Dizer que não Falei das Flores" (or, as it became more popularly known, "Caminhando"), composed and performed by Geraldo Vandré , for its content of confrontation with the political dictatorship that the country was going through. Thus, a large part of the public ostensibly booed both the disclosure of the result and the entire interpretation of the winner, to the embarrassment of its composers.

By appearing as second place, Vandré, feeling the heavy atmosphere of the environment, even tried to defend the winners, saying:

"Antonio Carlos Jobim and Chico Buarque de Hollanda deserve our respect. Our role is to make songs; the role of judging, at that moment, belongs to the Jury, who are there" (and when confronting the public like that, he was booed loudly, too To which he reacted waiting for the end of the apupos, to leave a warning and a lesson to the public) (...). There's just one more thing: for you, who keep thinking that you're supporting me by booing... (the audience starts a chorus of "It's marmalade!") (...). Look, there's only one thing: Life is not just about Festivals!"

The Impressionist Influence

The influence of Debussy and Ravel in the music of conductor Antônio Carlos Jobim is recognized, who used impressionist motifs and harmonic structures similar to those of these composers in their popular and classical music, such as A Sinfonia da Alvorada.

One of Tom's hallmarks was his incredible ability to add lightness and elegance to the high complexity and density of his compositions.

Admiring and influenced by Villa Lobos and Ary Barroso, Jobim also studied in depth the works of scholars such as Radamés Gnatalli and Guerra Peixe.

Tom Jobim, Vinicius and the more intimate style of Bossa Nova made room for composers to record their hits frequently, as it became important to know the emotional charge thought or desired by composers for their compositions.

Tom Jobim, 1972. National Archives.

Tom intensely wanted his music to be sung by the people in everyday life.

Deepening his musical studies, acquiring influences from classical composers, mainly Villa-Lobos and Debussy, Tom Jobim continued recording and composing vocal and instrumental music of rare inspiration, joining jazz harmonies (Stone Flower) and typically Brazilian elements, the result of his research on Brazilian culture. This is the case of Matita Perê and Urubu, released in the 1970s, who mark the alliance between their harmonic sophistication and their quality as a lyricist. These two albums are Águas de Março, Ana Luiza, Lígia, Correnteza, O Boto, Ângela. Also at that time, he recorded albums with other artists, such as Elis & Tom, with Elis Regina, Miúcha and Tom Jobim and Edu and Tom, with Edu Lobo.

Still taking advantage of the engaged streak of the post-military regime, he sang, albeit with a small individual participation, in the chorus of the Brazilian version of We are the world, the American hit that joined voices and raised funds for Africa or USA for Africa . The project Nordeste Já (1985) embraced the cause of drought in the Northeast, uniting 155 voices in a compact, collectively created, with the songs Chega de mágoa and Seca d'água. Praised for the competence of individual interpretations, he was nevertheless criticized for his inability to harmonize the voices and the framing of each of them in the choir.

Tom Jobim's tomb at São João Batista Cemetery, Rio de Janeiro.

In 1987, he released Passarim, the work of an already renowned composer, who could develop his work without any fear, accompanied by a large band, Banda Nova. In addition to the title track, Gabriela, Luiza, Chansong, Borzeguim and Anos Dourados (with Chico Buarque) are the highlights. In 1992 it was the plot of the Estação Primeira de Mangueira Samba School. His last album, Antônio Brasileiro, was released in 1994, shortly before his death in December from cardiac arrest while recovering from bladder cancer at Mount Sinai Hospital in New York.

Some biographies have been published, including Antônio Carlos Jobim, Um Homem Illuminado, by his sister Helena Jobim, Antônio Carlos Jobim - Uma Biografia, by Sérgio Cabral, Tons sobre Tom, by Márcia Cezimbra, Tárik de Souza and Tessy Callado, and Tom Jobim - Stories of Songs, by Wagner Homem and Luiz Roberto Oliveira.

Antônio Carlos Jobim was an honorary doctor from Universidade Nova de Lisboa / Faculty of Social and Human Sciences, around 1991.

Rio de Janeiro International Airport was renamed Rio de Janeiro International Airport/Galeão - Antônio Carlos Jobim by the National Congress by a commission of notables, formed by Chico Buarque, Oscar Niemeyer, João Ubaldo Ribeiro, Antônio Cândido, Antônio Houaiss and Edu Lobo, created and personally coordinated by the critic Ricardo Cravo Albin.

On January 25, 2011, the day Jobim would turn 84, Google changed its homepage logo in his honor.

Big names in international music played and sang Tom Jobim's songs, such as Stan Getz, Dizzy Gillespie, Ella Fitzgerald, Count Basie, Oscar Peterson, Sarah Vaughan, as well as Frank Sinatra, the Voice of the 20th Century, symbolizing the international consecration of their music. musical production. This admiration caused Tom Jobim to be called by jazz musicians the George Gershwin of Brazil, a great honor.

With the work of Antônio Carlos Jobim, Brazilian music experienced unprecedented international projection, rigorously unprecedented and definitive. Until the Bossa Nova movement, the Brazilian presence, although marked by excellence, as in the works of Ary Barroso, Dorival Caymmi, Zequinha de Abreu and Waldir Azevedo, was occasional; with Jobim, however, it became permanent, structural and influenced later production.

A musical strand that was born from the samba-canção opened up to dialogue with international trends in music, marked generations and exhibited the wealth that arises from the active willingness to learn about the cultural diversity of peoples, articulating the popular and the erudite, without any prejudice, revering the classics, offering a new reading of popular music, overcoming stereotypes, thus expressing an indelible mark of its musical production, consisting of works of rare beauty with wide international recognition by specialized critics and the general public.

João Gilberto Prado Pereira de Oliveira OMC (Juazeiro, June 10, 1931 — Rio de Janeiro, July 6, 2019) was a Brazilian singer, guitarist and composer.[2] Considered a genius artist by musicologists and specialized journalists, he revolutionized Brazilian music by creating a new guitar beat to play samba: the "bossa nova". His gentle way of singing also influenced many of MPB's singers.[3][4] For Rolling Stone Brasil magazine, he was one of the 30 greatest Brazilian icons of guitar and guitar[5] and also the second greatest Brazilian artist of all time, following Tom Jobim (also a musician and composer and arranger of the greatest successes of his career by João Gilberto).

Since the release of the single that contained Chega de Saudade and Bim Bom, armed only with voice and guitar, a revolution in world music began. Owner of an original and modern sound, João Gilberto took Brazilian popular music to the world, mainly to the United States, Europe and Japan. Europe, like the Grammys, in the midst of beatlemania.

Biography

Childhood and youth

Son of Joviniano Domingos de Oliveira, a prosperous merchant, and Martinha do Prado Pereira de Oliveira, João, known at the time as Joãozinho da Patu, was born in Juazeiro, in the hinterland of Bahia, on the banks of the São Francisco River. There, he lived until 1942, when he began studying in Aracaju, Sergipe, always playing in the school band. In 1946, he returned to Juazeiro, where he had the opportunity to hear from Orlando Silva, Dorival Caymmi and Carmen Miranda to Duke Ellington, Tommy Dorsey and Charles Trenet on the city's loudspeakers. He also had contact with music at home, as Mr. Joviniano played cavaquinho and saxophone as an amateur, in addition to financially encouraging the March 22nd Music Band. At that time, João used to form vocal ensembles with his schoolmates.

At the age of seven, he noticed an error in the performance of the church organist among the dozens of voices in the choir, showing, since childhood, the privileged ear he had. At 14, he got his first guitar from his father. Still in Juazeiro, he formed a vocal ensemble called Enamorados do Ritmo. His biggest idol at the time was Orlando Silva, on whom he looked up to sing. He moved to Salvador in 1947. During the three years he lived in the capital of Bahia, he abandoned his studies to dedicate himself exclusively to music and began, at the age of 18, his artistic career in the cast of Rádio Sociedade da Bahia.

Early career

João Gilberto and Stan Getz in New York (1972).

Invited to join the vocal group Garotos da Lua, in 1950, João Gilberto left for Rio de Janeiro. The following year, with the highlight on radio, the Garotos da Lua recorded two 78 rpm records. However, with a turbulent start to his career, marked by delays, João was fired from the group. Shortly afterwards, in 1952, he had the opportunity to record a solo album for the Copacabana record label, marked by the similarity of João's singing to Orlando Silva's in his heyday, with loud voice and use of technical devices such as vibratos, the same division of words and the same “feeling”. Interestingly, João sang without a guitar, which would become so attached to the image of João in the future. The album, however, did not achieve any success, Orlando was old-fashioned and modern were Dick Farney and Lúcio Alves.

At the time, João was dating the future singer Sylvia Telles. At that time, he shared a room in the pension with Luiz Carlos Paraná.

Opportunities arose and Lúcio Alves suggested to Rádio Nacional that João record an acetate containing "Just one more chance", by Sam Coslow and Arthur Johnson, in a Haroldo Barbosa version called "A Minute Only".

In 1953, he recorded his first composition, "Você está com meu bem", in partnership with Russo do Pandeiro, in the voice of Marisa Gata Mansa, his girlfriend at the time. The recording was accompanied by João on the guitar, still without the famous bossa nova beat.

During these years, João Gilberto even recorded some jingles at Russo do Pandeiro's studio, like one for Toddy, with lyrics "I was a skinny boy/ Very ugly and yellow. // Toddy took it every day/ He got fat and got better/ Strong stayed. // The girls now call me handsome/ In sports I am a champion". He also played at society parties, with negligible fees.

In 1954, João met Carlos Machado, the King of Night, and with him was able to participate in the show Esta Vida É um Carnaval, at the Casablanca nightclub, with the participation of Grande Otelo, Ataulfo Alves, the Império Serrano drums, among other artists. João sang in chorus in one scene and in another he sang as a soloist a samba by Sinhô, "Recordar é vive", in addition to making small theatrical appearances. The show was a critical and public success. That same year, he joined the Quitandinha Serenaders group. In the group, he met Luiz Bonfá, Alberto Ruschel and Luís Telles, who became a great friend of João's. He even joined the Anjos do Inferno group, in a short season in São Paulo.

The consecration, however, would not come to John in those years.

In 1955, João went to Porto Alegre, in Rio Grande do Sul, with his friend Luís Telles. There, he met Armando Albuquerque, composer, pianist, violinist, teacher, musicologist and friend of Radamés Gnatalli, with whom he spent hours studying music, especially harmony. After eight months, João decided to go to Diamantina, Minas Gerais, to live with his sister Dadainha, newly married and with a newborn daughter. During his studies, João realized that, if he sang lower, without vibrato, he could advance or delay the singing in relation to the rhythm, as long as the beat was constant, thus creating his own tempo. After seven months in Diamantina, João left for Juazeiro, where he spent two months with his family. There, he composed "Bim Bom", confident that he had found the beat he wanted. He went to Salvador, the state capital, and stayed there for a few days. In early 1957, João Gilberto left for Rio de Janeiro, for his consecration.

The beat presentation

Arriving in Rio de Janeiro in 1957, João, aged 26, tried to show his new technique to the musicians and, who knows, maybe manage to record. He performed for several musicians, intriguing some, among them Tito Madi and Edinho, from the Trio Irakitan, but he found his way by performing for Roberto Menescal, in a well-known and well-known history. In the midst of a huge party, Menescal opened the door to a guy who was asking for a guitar. Surprised by the request and at the insistence, Roberto Menescal ended up taking the one who was João Gilberto to his room. There, João performed "Bim Bom" and enchanted the young Menescal, who fled his parents' party and went on a small tour of Rio de Janeiro, introducing the new beat to people like Ronaldo Bôscoli and in places like Nara Leão's apartment. João explained some of his new techniques to Menescal and Bôscoli: his right hand played chords, not notes, producing harmony and rhythm at the same time. In addition, he used yoga breathing techniques, which allowed him to lengthen melodic phrases without losing his breath.

At that time, João performed at Chico Pereira's house, who recorded the performance on a Grundig recorder. This recording, acquired from the Japanese by a Swedish fan and remastered by a French sound engineer, hit the internet in 2009, causing a huge stir in music blogs and bossa nova fans. Chico also helped João to approach Tom Jobim, who worked at the Odeon record label, to record an album. He was mainly enchanted with João's guitar, seeing there an opportunity to modernize the samba, by simplifying the rhythm and including new harmonies, especially something more functional, modalism, creating freedom for the arrangements. Enthusiastic, Tom introduced João to a new composition he had made a year ago with the poet Vinicius de Moraes, but which was leaning against one another, called Chega de Saudade.

There are records of tapes recorded in an amateur way by singer Luís Cláudio.

João became known in the musical circle of Rio de Janeiro. He even played with Severino Filho and Badeco, from Cariocas, Chaim and João Donato, with whom he composed Minha Saudade, which soon became a standard of the period. João played regularly at the Plaza Hotel nightclub, which began to be a meeting point for musicians. There, João played with Milton Banana, who adapted his drums to João's style, playing the bass, with a brush and drumstick on the snare drum. Tom Jobim was a regular at the club, where he went to listen to João Gilberto.

The record that changed everything

The year 1958 was a milestone for Brazilian popular music. In July, Elizete Cardoso released the famous LP Canção do Amor Demais, featuring songs by Tom Jobim and Vinicius de Moraes. The album, however, would enter the history of Brazilian popular music for another reason: João Gilberto accompanied Elizete on the guitar on the tracks Chega de Saudade and Outra Vez, these being the first recordings of the so-called "batida da bossa nova". In August, João released a 78 rpm record containing "Chega de Saudade" and "Bim Bom", recorded at Odeon, with the support of Tom Jobim, Dorival Caymmi and Aloysio de Oliveira. This record inaugurated the bossa nova genre, and soon became a commercial success. His recording was arranged by Tom Jobim, with the participation of an orchestra and Milton Banana, among other artists. João innovated by asking for two microphones to record, one for the voice and the other for the guitar. In this way, harmony became more clearly heard. The album first hit São Paulo, the country's main market at the time. It was a bestseller and first place on radio. João participated, then, in radio and TV programs, gave interviews, performed shows. Soon the success went to Rio. In 1959, João released another 78 rpm, this time containing Desafinado, by Tom Jobim and Newton Mendonça, and Hô-bá-lá-lá, his own composition. In March, he released the LP Chega de Saudade, which became a sales success. It is said that after meeting João, Ary Barroso advised him: "Do exactly what you want!"

The importance of João Gilberto's first album is shown by Tom Jobim in the LP's back cover text: "In a very short time, (João) influenced a whole generation of arrangers, guitarists, musicians and singers".

1959-1962

Enough of homesickness

After the release of the LP Chega de Saudade, the new guitar beat became fashionable among high school and university students, enchanted by João Gilberto's guitar. This record influenced João's generation and the next generation of young people who, after listening to Chega de Saudade, decided to pursue a career as a musician. Among the young people were Gilberto Gil, Caetano Veloso, Chico Buarque, Milton Nascimento, Edu Lobo, Francis Hime, Roberto Carlos, Jorge Ben Jor, Paulinho da Viola, among others. This record created the most complete turnaround in Brazilian popular music. João synthesized MPB in its fundamental terms: rhythm, harmony, guitar beat and singing technique. In addition, his style, although revolutionary, did not break with the music of the past, as he recorded on his records old compositions by Ary Barroso, Geraldo Pereira, Dorival Caymmi and hits by Orlando Silva. Called a recomposer by musician Luiz Tatit, João transformed old songs into new ones, according to his conception. Jobim defined João's style as a light form that can be extended to any Brazilian music. João Gilberto defined economy as an unprecedented harmonic brand. Tom Jobim's arrangements, for example, use João's guitar as a guide, which concentrated the rhythmic and melodic fluidity. In this LP, the use of inverted chords played in block was introduced. The song Chega de Saudade was initially a chorinho, and João turned it into a dry samba, with the guitar ceasing to be a mere accompaniment and sharing the foreground with the voice.

With this record, João Gilberto left João pre-bossa do Rio behind and left for his consecration. He participated in the program "Noite de Gala", on TV Rio, directed by Luís Carlos Miele. Also in 1959, João recorded a participation in Luiz Cláudio's 78 rpm, accompanying him on the guitar, in the first recording of the song Este Seu Olhar, by Tom Jobim, who played the piano and arranged the recording, reissued in 2005 in the compilation "Este Seu Olhar", CD released by the Revivendo label of researcher Leon Barg. He recorded three songs from the soundtrack of the film Orfeu de Carnaval, or Black Orpheus, released in a double single by Odeon. However, contrary to what many people think, João Gilberto did not have any participation in the original soundtrack of the film. He also performed at the Meia Noite nightclub at Copacabana Palace and at the Country Club in Rio de Janeiro. In 1960, with João's beating fever, several bossa nova festivals were held in Rio, such as the Grupo Universitário Hebraico, Escola Naval, Rádio Globo - broadcast live - and Teatro de Arena of Faculdade Nacional de Architecture, the latter with the participation of João Gilberto and Chico Pereira, who recorded the show, as well as the presence of Vinicius de Moraes and Tom Jobim and wide media coverage. He participated in the program "Brasil 60", on TV Excelsior, where he acted and did a duet with Orlando Silva, his former idol, and had his own program, called Musical Três Leões, on TV Tupi, in São Paulo. João also participated in the opening show of TV Excelsior. Unfortunately, there is no record of video or audio recordings of these presentations. All the new musicians linked to the bossa nova movement copied João's way of playing and singing. João also performed in Minas Gerais, Salvador (with the presence of Vinicius de Moraes), did a season at the Arpège nightclub, in Leme, Rio de Janeiro and recorded a jingle for Lever, now Unilever.

The love, the smile and the flower (1960) and João Gilberto (1961)

Also in 1960, João Gilberto recorded his second LP, O Amor, o Sorriso ea Flor, which in 1962 arrived in the United States. The export of modern Brazilian music began. This LP brought another innovation: the back cover featured the lyrics of the songs, which became characteristic of Brazilian records. It is worth highlighting the composition of Tom Jobim and Newton Mendonça, the Samba de Uma Nota Só, a synthesis of bossa nova in the fundamental elements of lyrics, melody, rhythm and harmony.

In 1961, he recorded his third album, João Gilberto. His third LP was recorded in two phases: the first with Walter Wanderley and his band; the second, with an orchestra conducted by Tom Jobim. The old sambas returned, but altered in such a way, rhythmically and harmonically, that they sounded like new sambas. Among the effects used by João is rubato, in which they rush or shorten phrases, singing in a slightly different tempo from the accompaniment, "stealing" some time from the notes, then waiting with the guitar and continuing as normal. It was also on this record that João, for the first time, recorded alone, with only the guitar. Apparently, there are two tracks recorded and not released on the disc, according to musician Bebeto, formerly of Tamba Trio. He claimed that one of the recordings is Falseta, by Johnny Alf. With the recording of this third LP, João became eternal in Brazilian popular music, in such a short time influencing so much. The American edition of this disc had a new recording of Este Seu Olhar, with the melody modified, apparently due to copyright issues.

That year, in a series of presentations in São Paulo, João showed that he was unanimous in the city of São Paulo. He performed for 1,500 people at Mackenzie University, filled the theater of the Harmonia club and the Pinheiros club.

The hit reached the United States. Lena Horne sang "Bim Bom" in Portuguese at Copacabana Palace, claiming to be a fan of João Gilberto. In Washington, on radio WMAL, disc jockey Felix Grant scheduled to play João's records daily, a fact that had an impact on musicians and jazz aficionados. João was considered a phenomenon by jazz musicians. Herbie Mann stated that João Gilberto attracted the attention of Americans to Brazilian music. The magazine Life en Español, in an extensive article by Joaquín Segura, on October 29, 1962, presented João Gilberto's bossa nova to the United States, "Nota de Actualidad BOSSA NOVA - Del Brasil llega a los EE.UU. una music contagious". The journalist described trips to Brazil by jazz stars such as Dizzy Gillespie, Charlie Byrd, Herbie Mann, who returned trying to imitate the guitar and the voice of João Gilberto, described by the journalist as the greatest exponent of bossa nova. Bim bom, Ho Ba La La and Um Abraço no Bonfá, compositions by João, began to arrive in France. During these years, João even performed in Uruguay and Argentina, his first performances abroad.

Meeting at Au Bon Gourmet

In 1962, he performed the historic show O Encontro at the Au Bon Gourmet restaurant, located in Copacabana, alongside Tom Jobim, Vinicius de Moraes, Os Cariocas, Milton Banana and Otávio Bailly, under the direction of Aloysio de Oliveira. It was the only time that Vinicius, João and Tom performed on the same stage. The season lasted a month, extended to two weeks due to success. The public consisted of Rio's high society and artists' circles. The show was remarkable because it was the debut of big bossa nova hits. Among them, Só Danço Samba, Samba da Bênção, O Astronauta, Samba do Avião and Garota de Ipanema, which on this special occasion had an unprecedented introduction written by Tom, Vinicius and João. change the verse "a cigarette, a guitar" for "a corner, a guitar". how it became consecrated. The repercussion in the media at the time was great, with several magazine covers and praise in newspapers.

João Gilberto made a small appearance on the LP "José Vasconcelos tells stories of animals", by ODEON, in the song A Roupa do Leão.

First marriage and career internationalization

Marriage with Astrud Evangelina Weiner

Also in 1959, he married Astrud Evangelina Weinert, who became known as Astrud Gilberto and became one of the most important singers in the history of Brazilian music, being, until today, the only female artist in the country to compete in the main categories of the main world music industry award, the Grammy Awards. In 1964, the singer was nominated for Best Female Vocal Performance in Pop Music, Best New Artist and Recording of the Year. American Stan Getz. In 1966, Astrud was nominated again for the Best Female Vocal Performance in Pop Music category at the Grammy Award, which was won, as in the previous year, by singer Barbra Streisand.[40]

The couple met through Astrud's great friend, also singer Nara Leão.[41] With Astrud, João had a son, João Marcelo, in 1960.

Concert at Carnegie Hall

In 1962, João participated in a concert at Carnegie Hall, in New York, produced by Audio Fidelity Records and sponsored by Itamaraty, with the objective of promoting bossa nova in the United States. Besides João, Luiz Bonfá, Oscar Castro Neves, Agostinho dos Santos, Carlos Lyra, Sérgio Mendes and Tom Jobim, among others, also participated.

On November 21, 1962, three thousand people crowded Carnegie Hall, waiting to hear, mainly, Tom Jobim and João Gilberto. Among the spectators were Tony Bennett, Peggy Lee, Dizzy Gillespie, Miles Davis, Gerry Mulligan, Erroll Garner and Herbie Mann. There was a large presence of the American press, estimated at three hundred reporters, cinematographers and specialized critics from all over the world, as well as a radio station that transmitted to Moscow and Radio Bandeirantes, which transmitted to Brazil. The show was also filmed by an American TV, and was later shown on TV Continental and TV Tupi, in Brazil. João's performance was praised by the American media, in reports from vehicles such as The New Yorker, Newsweek, Time, The New York Times and Down Beat. Despite being a Brazilian singer and guitarist, singing unknown songs in Portuguese to a demanding audience made up of musicians and critics, João conquered the United States.

Despite some organization problems, with the sound equipment and with the excess of presentations, João Gilberto, Luiz Bonfá and Tom Jobim were the highlights of the night.

After the episode, João performed at the Blue Angel nightclub, performed at the Village Gate in New York and at the Lisner Auditorium in Washington. From then on, João took up residence abroad and began to spread modern Brazilian music around the world.

red harvest

In Brazil, the film Seara Vermelha was released, which included, in the soundtrack, a composition by João in partnership with Jorge Amado, composed in the 1950s, named Lamento da Morte de Dalva on the Beira do Rio São Francisco, in Juazeiro when they were composing, João sang the melody endlessly in Jorge Amado's house. Jorge's wife, Zélia Gattai, says that, after listening so much, the couple's sufferer learned the melody and began to sing. João ended up doing a duet with the bird.

The song's lyrics remained unpublished for years, never having been recorded.

Getz/Gilberto

On March 18 and 19, 1963, at A&R Studios, in New York, João joined Stan Getz, Astrud Gilberto, Tom Jobim, Milton Banana and Tião Neto to record the album Getz/Gilberto, produced by Creed Taylor for the Verve record label, with Phil Ramone as sound engineer, who entered the history of world music for recordings such as "Corcovado" and "Garota de Ipanema". The album, however, was waiting a year to be released, due to the saturation of bossa nova releases in the United States.

Tião Neto even said, before the release, that this would be the best bossa nova album ever recorded.

That same year, João was honored by several jazz musicians and by singer Jon Hendricks, who recorded the album Salud! João Gilberto – Originator of the Bossa Nova and, listening to João's recordings, had a great singing lesson. He also performed with Getz in Canada.

A year after the recording, 1964, Getz/Gilberto was released on the market. Success was immediate. It soon began to be praised by critics, jazz musicians and acclaimed by the public, which made it the second best-selling album of the year. In 1965, the album competed in nine categories and won 4 Grammy Awards. The trophies received were: Best Album of the Year (with statuettes awarded to Stan Getz, João Gilberto and producer Creed Taylor); Best Record of the Year, awarded to Astrud Gilberto and Stan Getz for recording the song The Girl from Ipanema; Best Jazz Soloist (Stan Getz) and Best Sound Engineering (for Phil Ramone), with Garota de Ipanema.

It has been hailed as true bossa nova and has been a bestseller for years, in the US and worldwide. It reached the charts in Italy, where João received the most important award from the Italian music critic, unanimously.

The recording of Garota de Ipanema became the most played single on American radio.

Update of the disc

Today, the album is a classic of world discography and remains influential and current. Generations of American jazz musicians were influenced by it.

In 1999, the National Academy of Recording Arts & Sciences awarded the record the Grammy Hall of Fame award.

In 1993, the album was re-released on CD in Europe by the CTI label, distributed by the German company Zyx Music, within the series "Grammy Award Winners", with the remastering carried out from tapes from the collection of producer Creed Taylor that were in best conservation state. For legal reasons, the CD's cover was changed and its name changed to "The Girl From Ipanema" (PDCTI catalog number 1105-2).

In 2004, Garota de Ipanema's recording of the disc was chosen by the American Congress to be part of a Library of Congress collection because it is culturally, historically and aesthetically significant for future generations. The song was chosen because it has a melody that is easily recognizable anywhere in the United States and is therefore very popular.

Europe tour

Also in 1963, João left with João Donato, Tião Neto and Milton Banana for Europe. First, in Italy, they performed in Rome, at the Foro Italiano. There, they also recorded a TV series. He then left for Viareggio, still in Italy, to spend a season at the Bussola nightclub. In this nightclub, João got to know the bolero Estate, which years later he would record on record and turn into a jazz standard.

João began to feel muscle spasms in his right hand. The season in Italy was ended by the fact and the group refused to perform in Tunisia. João left for Paris to be treated with a famous acupuncturist doctor. There, already separated from Astrud, João met Miúcha, at the time a student. Then he returned to New York.

U.S

Back in New York, João treated the spasms with American doctors in a long physical therapy treatment. João received positive reviews about Getz/Gilberto in LIFE magazine. American critic Chris Welles cited João's syncopated guitar and smooth, sensual voice as the album's true beauty. Miles Davis said that Joao Gilberto could read a newspaper that would sound good.

At the end of the year, João returned to Carnegie Hall, this time with Stan Getz, in a concert that resulted in the album Getz/Gilberto #2. In addition, João has performed at various clubs in New York, such as the Village Vanguard, the Village Gate, Town Hall and the Bottom Line, as well as touring cities such as Washington, Boston and Los Angeles. He also performed in California, in season at El Matador nightclub and at Teatro Santa Monica. The San Francisco Chronicle of September 10, 1964 published an article by critic Ralph J. Gleason, in which he called João an extraordinary singer and guitarist, survivor of American music show business and bossa nova center of gravity, great exponent of art and talent.

Brazil

In 1965, João and Miúcha got married. That year, he still went quickly to Brazil, where he was treated by a phoniatrician, because of a voice problem.

In 1966, he performed three times on the program O fino da Bossa, led by Elis Regina, on TV Record. Introduced as an international star by Elis, João was applauded by an admired audience. However, he noticed the absence of return from the stage, the resource used for the artist to hear himself while playing, and stopped on the third song.

In this quick passage through Brazil, João complained about the new musical production that was being made nationally.

U.S

Later that year, his daughter Isabel, known as Bebel Gilberto, was born in New York. The album Getz/Gilberto was released, which has an entry in the Encyclopedia of Jazz in the Sixties, Leonard Feather's famous encyclopedia on jazz, in which João is presented as a musician who has profoundly influenced jazz since his arrival in the United States. DownBeat magazine named João as the most influential jazz musician of the last forty years.

In 1967, João participated in a German TV program dedicated to Gilbert Bécaud, being the only non-European guest. He also performed at the Village Vanguard in New York and at the Hollywood Bowl in Los Angeles.

In 1968, he performed in New York's Central Park and Washington's Bird's Nest.

João won an entry in the Italian encyclopedia Il Jazz, which treats him as one of the most beautiful voices of the last decade and a great architect of the affirmation of a musical language judged as one of the most original and valid of those times.

He returned to New York, where he performed at the Rainbow Grill. At the time, he told the critic John S. Wilson, of the New York Times, that when he sang, he thought of a clear and open space, where sounds are placed, as if he were going to draw on blank paper. For this, according to João, complete silence was necessary.

Mexico

In 1969, João participated in jazz festivals in Guadalajara, Guanajuato, Mexico City and Puebla. João then moved to Mexico City. During his stay, he performed at the Forum nightclub, where he worked, and at the Mexico City Museum, where he received an award, the Chimal Trophy.

In 1970, he released the album En Mexico, filled with boleros such as "Besame Mucho" and "Farolito" and arranged by Oscar Castro Neves. From this album, Caetano Veloso cites the song "O Astronauta" as the discovery of a masterpiece that João brought to light.

1971 - 1979

In 1971, he traveled to Brazil, when he recorded a special on TV Tupi with Caetano Veloso and Gal Costa, organized by Fernando Faro. João sang sitting on the floor and even played ping-pong, a sport in which he was a master. The images of this special were lost in a fire at the headquarters of TV Tupi, but apparently the phonograms were saved.

Return to New York

João Gilberto returned to New York in 1972. He did another season at the Rainbow Grill, this time with Stan Getz, which was a success.

In 1973, he released the album João Gilberto, known as the white album, recorded only with voice, guitar and light drums by Sonny Carr. On this album, João recorded his composition with Jorge Amado. This time, however, he removed Jorge's lyrics and hypnotically and incessantly repeated the neologism "undiú", which gives the song its name. João interpreted the song with solfejos and guitar. In "Baixa do Sapateiro", composed by Ary Barroso, João soloed the song on the guitar only with chords, described by Guinga as a solo upside down, inside the guitar arm, a step forward in history. The story in which drummer Sonny Carr touches brooms over a wicker wastebasket is curious.

In 1976, he released the album The Best of Two Worlds, with Stan Getz and the participation of Miúcha. He seasoned at Keystone Korner, in San Francisco, with Stan Getz.

In 1977, he released Amoroso and was nominated for a Grammy for Best Vocal Jazz Performance. He released, for the first time, the song Estate, by the Italian Bruno Martino, which, after recording by João Gilberto, became a standard in world music, being re-recorded by several artists, such as Chet Baker, Toots Thielemans and Michel Petrucciani. The album, with arrangements by Claus Ogerman, became a classic, marked by João's return to the Brazilian hit charts. João, at the time of the release, was delighted with the record. The sound capture of the voice and guitar, the balance with the orchestra and the arrangements by Claus Ogerman were highly praised.

He did a season of shows at the Bottom Line in New York. The shows were a critical and public success. One of the spectators was Jacqueline Onassis, who told João that she was an attentive and long-time admirer.

That same year, João performed at the Great American Music Hall, in San Francisco, and in a series of shows at the Roxy nightclub, in Los Angeles.

In 1978, he recorded a television special for a Dutch TV and returned to Brazil, brought by TV Tupi. He caused a furor in the press with his arrival in São Paulo. He performed at Teatro Castro Alves, Salvador, and at Teatro Municipal in São Paulo, where he recorded a TV special. He returned to Carnegie Hall again, this time with Charlie Byrd and Stan Getz, for the Newport Festival in New York.

Definite return to Brazil

He arrived in Rio de Janeiro in 1979, for a season of concerts, which was canceled due to technical problems at the Canecão venue. The last time João had performed in Rio was at the 1962 show O Encontro. João stated that he was just looking for a more integrated sound and that he was eager to play in Brazil.

This time, he returned to live in Brazil for good.

In 1980, João recorded a special for TV Globo called João Gilberto Prado Pereira de Oliveira, which later became an album. Recorded live at Teatro Fênix, in Rio de Janeiro, for the Grande Nomes series, always named after the artist's full name. In the repertoire presented, from Ary Barroso and George Gershwin to bossa nova classics, with the surprise of the special participation of Rita Lee in Jou Jou Balangandãs, by Lamartine Babo. The show was accompanied by the Rede Globo Orchestra, with arrangements by João Donato, Dori Caymmi, Guto Graça Mello and Claus Ogerman.

João also recorded a special appearance on Miúcha's album.

Album Brazil

In 1981, João released the album Brasil, with Caetano Veloso, Gilberto Gil and Maria Bethânia. The album had João Gilberto as a guide, "mestre" - as Sérgio Vaz put it in a column in Jornal da Tarde. - Her voice was followed by Gilberto Gil and Caetano Veloso, in unison, sounding like three voices of João. Maria Bethânia, when she appeared, sang in a way she had never sung: there are no screams, moans or drama, there was only singing. The record was well received by critics.

In 1982, João recorded "Brazil com S", a special appearance on Rita Lee's album, "Rita Lee e Roberto de Carvalho".

He gave concerts at Teatro Castro Alves and recorded a special on TV Bandeirantes called "João Gilberto: The art and the craft of singing", with the participation of Ney Matogrosso.

In 1983, João performed at the Festival de Águas Claras, in São Paulo.

He performed in Rome, for the Festival Bahia de Todos os Sambas, shown by TV RAI.

In 1984, João did a season at Coliseu dos Recreios, in Lisbon.

In 1985, he participated in the 19th Festival de Jazz de Montreux, Switzerland.

In 1986, the recording on disc of the participation in the Festival de Jazz de Montreux arrived in Brazil. João recorded Me Chama, by Lobão, to be part of the soundtrack of the soap opera Hipertension. Lobão says that he received calls from João for approval of the performance, in addition to having to explain his emotional state during the composition. Lobão was initially irritated with the suppression of the verse "one does not always see magic in the absurd", but he found the execution wonderful.

In 1987, João was awarded the commendation of the Order of Judiciary Merit for Labor, in the degree of commander, by the Superior Labor Court.

Lawsuit against EMI

In the same year of 1987, EMI, owner of the collection of the former recording company Odeon, released, without authorization from João Gilberto, a compilation (a double LP and a single CD) that brought together João's first three LPs (Chega de Saudade, O Amor, o Sorriso ea Flor and João Gilberto) and the single João Gilberto Cantando as Músicas do Filme Orfeu do Carnaval, also known as a single album, called O Mito no Brasil and The Legendary João Gilberto. In addition to the lack of authorization, EMI, according to João, altered the sound of the recordings and altered the order of the tracks. In 1992, the artist filed a lawsuit for moral and material damages against the British multinational, alleging "end of the harmonic sequence" of the tracks and defects in the remastering. Since then, his first albums, considered of unique importance to the history of Brazilian popular music, are no longer found on store shelves, except in pirated copies. In 1999, Paulo Jobim was appointed by the 28th Civil Court of Rio de Janeiro as an expert to prove the alleged sound mixes made by EMI. In his technical report, Paulo stated that EMI "mutilated" and "deformed" João Gilberto's voice, "downgraded" the work and "literally cut" part of the tracks. There was also the addition of reverberation, addition of stereo echo in tracks that were originally mono and equalization to enhance the high frequencies of the drums and orchestra in all tracks, data provided by the expert appointed by the label. Paulo Jobim also stated that the original matrixes of the records had an excellent state of conservation, with no need for any alteration to the sound. Aderbal Duarte, a student of João Gilberto's work, witness of the musician in the process, said that João was already thinking about the heights of his voice and guitar when recording, making the sound already mixed.

In 2000, Caetano Veloso was appointed by the defense to present a critical report. He stated that the adulterations caused damage to the work of João Gilberto, who was radically concerned about the excellence of sound quality and the rigorous and delicate finishing of the recordings, clearly causing moral damage. In addition, by bringing three discs on a single CD, the record company contributed to a one-third reduction in the commercial value of the product offered, which had caused property damage. Caetano also showed how EMI itself declared that it could not carry out the equalizations without João's permission. In Caetano's words, "Due to these glaring failures of the defendant (EMI), João Gilberto suffered and continues to suffer incalculable losses". On the other hand, EMI's remastering received international awards and was well accepted by specialized critics, which supposedly would attest to its quality.

In a first instance decision in 2007, judge Maria Helena Pinto Machado Martins denied the request for moral damages and rejected the end of the commercialization of the records, pointing out that João Gilberto had an "extreme sensitivity". "Mere annoyance, annoyance, hurt, irritation or heightened sensitivity are outside the orbit of moral damage," said the judge. She, on the other hand, ordered EMI to pay royalties on João's work, as well as compensation for the use of the song Coisa Mais Linda in an O Boticário commercial. Defense lawyers appealed the decision, which ended up going to the Superior Court of Justice (STJ).

In 2008, there was a start of conversation between the parties. EMI brought a technician from the United States to accompany the musician in the audition of the masters, or masters of the records. João Gilberto, however, did not recognize these masters as the originals, culminating in the end of the conversations. Claudia Faissol, then the musician's partner, asked the Ministry of Culture, President Dilma Roussef and Itamaraty for help in 2011 through a document called "Memorial João Gilberto", signed by the musician himself, but, officially, the Brazilian government preferred to stay away from the question. That same year, the STJ decided, by majority vote, that EMI should pay compensation for moral damages to João Gilberto. Reporting Minister Sidnei Beneti concluded that "the author's moral right, inalienable and subject to indemnification, refuses modifications to his work regardless of whether it receives awards". At the time of the trial, Minister Beneti lamented the lack of agreement in the case and the lack of circulation to the public of classic Brazilian music records. In an interview, EMI's lawyer in Brazil, Ana Tranjan, stated that the attempts to reach an agreement were merely embryonic stages of conversation and that, due to the proximity of the outcome of the case in court, there was no extension of the conversations.

The process was of great importance for copyright in Brazil, with consequences in several processes still in progress and in thousands of records produced in the country, as the possibility of modifying the work for re-release was discussed. The right of humanity to have access to cultural production and the author's right to preserve his work were placed in the balance, and the scope of the author's moral right over his work was defined. Minister Sidnei Beneti recalled that the process was unprecedented in Brazil.

In 2013, the 2nd Civil Court of Rio de Janeiro decided to grant an injunction obliging EMI to return to João Gilberto the matrices of the LPs and the compact of the process. Judge Simone Dalila Nacif Lopes, in her decision, showed the urgency of giving the 81-year-old musician the opportunity to look into these works and update them. Soon after this decision, Ruy Castro, in his column in the Folha de S.Paulo newspaper, showed excitement about a possible re-launch, despite predicting an overturning of the court injunction. A few days later, judge Sérgio Wajzenberg, of the 2nd Civil Court of the TJ-RJ, decided that the injunction would be maintained, as well as the obligation to return the matrices to João. Days later, in a second instance decision, judge André Gustavo Correa de Andrade, from TJ-RJ, expressed concern about the fact that João Gilberto had not provided guarantees of adequate conservation of the masters, leaving the material again in EMI's possession. A week later, João's lawyers presented the technical conditions necessary to maintain the recording matrixes, leading the judge to change the decision, with the masters being returned to the musician.

Marcelo Gilberto, the musician's first son, stated that EMI would not have complied with the decision, and that the alleged masters given to João Gilberto were, in fact, copies of the real ones, and only the album Chega de Saudade could be true. It is believed that EMI Records may have lost the original tapes. The EMI lawyer, on the other hand, claimed that all the material delivered to João was original.[91]

In 2015, the Superior Court of Justice ruled that EMI could no longer sell João Gilberto's records without his authorization. In 2018, the artist's defense filed an indemnity review request by EMI Records, whose control became Universal Music.

late 80's

In 1988, João canceled shows at the Municipal Theater in Rio de Janeiro. Suffered from the incomprehension of the press.

In 1989, João received a Grammy nomination in the category Best Vocal Jazz Performance, for the album "Live in Montreux".

90's

In 1990, he recorded a special on Maria Bethania's album, sharing, with voice and guitar only, the track Maria/Linda Flor.

The legendary João Gilberto, a collection of João's first three LPs recorded at Odeon, was released in the United States, which resulted in a lawsuit against EMI.

Album John

In 1991, the CD João was released. In the repertoire, old sambas such as Ave Maria no Morro, by Herivelto Martins, Palpite Infeliz, by Noel Rosa, and Rosinha, composed by friend Jonas Silva, former crooner of Garotos da Lua, who came out to make way for João in the early 50s. The record marked the recording of songs in other languages: English (You Do Something for Me, by Cole Porter), Italian (the Malaga bolero, by Fred Bongusto) and French (Que Rest-t-il from Nos Amours by Charles Trenet). The album was recorded with voice and guitar only, for later addition of orchestral arrangements made by Clare Fischer. João also recorded the first video of his career: Sampa, by Caetano Veloso. Recorded in locations such as the Pacaembu Stadium, Liberdade neighborhood, Jóquei Clube de São Paulo and Viaduto do Chá, the clip shows the affection that João had for the city of São Paulo.

Brahma Commercial

That same year, João recorded a jingle called Bossa Nova nº 1, for Brahma. With sophisticated production, the commercial was recorded at the Municipal Theater of São Paulo, directed by Walter Salles and was accompanied by a series of Brahma events. João was accompanied by an orchestra, conducted by Eduardo Souto Neto.

In 1992, João performed at Ibirapuera Park, in São Paulo, together with Caetano Veloso, Paulinho da Viola and Rita Lee, on the occasion of the city's anniversary.

Reencounter with Tom Jobim

Since 1962, in the show at the Au Bon Gourmet restaurant, "O Encontro", Tom and João did not perform a show together. When a concert with the two greatest exponents of Brazilian popular music at the time was announced, the event was placed as the cultural event of 1992 by the media.

Called Show Número 1, still linked to the series of events sponsored by Brahma, such as the commercial produced the previous year. João performed at the Municipal Theater in Rio de Janeiro, with a special guest appearance by Tom, and João participated as a guest in Tom's concert at the Palace, in São Paulo.

At the Rio Municipal Theater, João performed a show full of old sambas such as Sem Compromisso, Morena Boca de Ouro and Ave Maria no Morro. Upon entering the stage, João was cheered by two thousand guests from Brahma, the show's sponsor.

The show was a great success, and became an end-of-the-year special on TV Globo, directed by Walter Salles Jr. and recovering historical images from the 50s and 60s, such as the famous concert at Carnegie Hall in 1962.

Several editions of this TV special, aired by Rede Globo on December 29, 1992, were released on DVD in Europe and Japan with the titles "O Grande Encontro" and "João & Antonio - Show Nº1".

Excerpts from the TV special were also used in the documentary "Bossa Nova - Music & Reminiscences", directed by Walter Salles Jr.

The special "João & Antonio" also served as inspiration for the series "Minuto da Bossa", shown by Rede Globo in 1992, directed by Walter Salles Jr. and narrated by Caetano Veloso, including material not used in the special due to limitations of time.

In 1993, João Gilberto performed at Teatro Castro Alves, Salvador, with Gal Costa and Maria Bethânia as guests.

In 1994, he performed at the Palace, São Paulo, which resulted in the album “Eu Sei que Vou te Amar”, recorded live, and in the special for TV Cultura, Especial João Gilberto.

In 1995, João, along with Caetano Veloso, Gal Costa, Astrud Gilberto, the Caymmi family, Herbie Hancock, Sting and other artists, participated in a tribute to Tom Jobim at the Avery Fisher Hall, located in the Lincoln Center in New York. The tribute was attended by the then president of Brazil Fernando Henrique Cardoso. Tickets for the show were sold out in just one day of sales, and it is said that, on the black market, tickets were bought for three thousand dollars.

In 1996, he participated in the Umbria Jazz Festival, in Perugia, Italy, and performed in Venice.

In 1997, he made a special for TV Bandeirantes in a season at Tom Brasil, São Paulo. He performed in Buenos Aires, where he received the keys to the city and the title of distinguished citizen.

In 1998, he performed again at Carnegie Hall, on the occasion of the 26th edition of the JVC Festival.

João Gilberto is the coolest man in the world

Jon Pareles, critic for the New York Times, on the occasion of João's performance at Carnegie Hall

He performed in Europe, where he performed in Turin, Rome, Ferrara and participated, as a special guest, in the performances of Tony Bennett and Caetano Veloso at the Umbria Jazz Festival.

In 1999, he played three concerts in Buenos Aires, for the first time performing with Caetano Veloso.

Later that year, João Gilberto performed at Credicard Hall, in São Paulo, inaugurating it. The show had great negative repercussions, with sound problems, João's complaints and boos.

João Voice and Guitar

In 2000, João Gilberto João launched Voice and Guitar. Upon hearing the results, John, who preferred the disk without mixing, even said that the soul had recorded there. It is noticed the scratch of guitar strings, subtle percussion and pronunciation of controladíssima breath. The disc, treated now as a classic at the time of launch, had new harmonies to Desafinado and Chega de Saudade, treated as superior in relation to old recordings, according to Nelson Motta, among old sambas redemptions and recent compositions of friends Caetano Veloso and Gilberto Gil suggested by Caetano, among other songs, in an intimate atmosphere of voice and guitar. In its eternal quest for perfection, John showed this record, even after 68 years at the time of recording, which still had much to teach about the exploration of the rhythmic cell of music, vocal technique, breathing control and interpretative exercise. In the cover photo, it is the actress Camila Pitanga. The disc had arrangements made by maestro Jaques Morelenbaum, but the orchestrations finished off the drive, leaving only the voice and guitar. The American critics declared that this disc like a jewel.

At the time of recording, another project was discussed: re-recording the first three albums - Chega de Saudade, O Amor, o Sorriso ea Flor and João Gilberto (1961) - with the same arrangements as Tom Jobim. Universal had agreed to the project and João had already chosen a number of guests for the recordings, such as Ivete Sangalo.

He returned to Carnegie Hall, São Paulo, Barcelona, London, Milan and Recife. Chega de Saudade (78rpm) entered the Grammy Hall of Fame.

In 2001, João received another Grammy award, in the Best Album of World Music category, for his album João Voz e Violão. The Brazilian press thought the award was unfair, saying that João deserved to participate in nobler nominations.

He performed in Paris, in two performances at Olympia, crowded, mainly by young people. France was experiencing another explosion of bossa nova, this time the result of electronic music. He drove the audience crazy when he played Que Reste-t-il de nos Amours. Frequently, in his shows, João Gilberto paid homage to the city in which he performed. In São Paulo, he always played Saudosa Maloca, by Adoniran Barbosa; in Portugal, to the delight of the public, he presented Casa Portuguesa; in Recife, he played Recife, Cidade Lendária.

On the occasion of his 70th birthday, João was honored by various media outlets in Brazil.

He performed at the 22nd edition of the Montreal International Jazz Festival, in Canada.

João received the Order of Rio Branco from the Ministry of Foreign Affairs, with the degree of commander.

In 2002, he released the CD “Live at Umbria Jazz”, recorded in 1996.

In 2003, he received the Premio della Critica Heineken in Italy.

conquest of japan

First tour – 2003

In September 2003, for the first time, João performed in Japan, passing through Tokyo and Yokohama, totaling four performances with almost twenty thousand tickets available to the public, which sold out three months before the performances. In his first performance, at Tokyo International Hall, João reported that playing for Japanese audiences was an experience he had been looking for for decades. At his last concert, on September 16, João received a 25-minute round of applause from the Japanese audience. On that day, a curious fact: at the end of the show, João lowered his head and closed his eyes for 20 minutes. At the end, he got up and thanked the audience, saying that he had kissed every hand, every heart present there. The success of the Japanese tour was enthusiastically celebrated by João himself.

João Gilberto's performances caused a boom in bossa nova in Japan. Record companies re-released several João's albums especially for the Japanese market, such as Getz/Gilberto, João Voz e Violão and the one recorded in Mexico, in addition to several collections. Popular Japanese artists recorded CDs in honor of João. All the specialized music magazines reserved pages of praise for João Gilberto, treated as a living legend of universal music, creator of bossa nova, the most respected Brazilian master in the world, prestige that João did not enjoy in Brazil.

In 2004, Verve Records released the CD João Gilberto in Tokyo, recorded live during the second performance in Japan. is, they are redesigned, in a process of development and infinite search.

That year, her third daughter, Luiza Carolina, was born with Claudia Faissol.

Second and Third Japan Tours

In 2004, he toured Japan again. This time, he received thirty-eight minutes of uninterrupted applause at his concert in Osaka.

In 2005, João received the Order of Cultural Merit, from the Ministry of Culture.

In 2006, he made another tour in Japan, where honored the country with a composition "Je Vous Aime, Japan." Once again, the shows are sold out. On this tour, it was announced the release of a live DVD of John's performance in Japan. However, the DVD was vetoed by the will of the artist, who did not find the good show to be recorded.

In 2007, in a popular vote by DownBeat magazine, João was chosen as one of the best jazz singers.

50 years of bossa nova

In 2008, on the occasion of the fifty years of bossa nova, a series of celebrations began. João performed in São Paulo, Rio, Salvador and Carnegie Hall. His shows sold out tickets within hours. His shows were revered by the public and praised by critics, showing that, at the age of 77, João was still modern. In his show in Rio de Janeiro, contrary to the legends that surround him, João, in a very good mood, sang with the audience.

In 2005, João Gilberto recorded a commercial for Companhia Vale do Rio Doce in partnership with the Africa agency, aired in the second half of 2008, on a national basis, during breaks on TV Globo's Jornal Nacional. With narration by Fernanda Montenegro and composition by Nizan Guanaes, the advertisement proposed a tribute to the Brazilian people.

In 2009, DownBeat magazine, regarded as one of the most respected jazz publications in the world, elected João as one of the 75 best guitarists in jazz history and as one of the five greatest jazz singers.

In 2011, Claudia Faissol, producer and mother of João's youngest daughter, lost some of the images she had made of the musician for twelve years. The Ministry of Culture (MinC) at the time was called upon to help preserve the images, having promised a technician from the Cinemateca Brasileira, but the exchanges of ministers hindered the process.

Later that year, the sacred bossa nova trilogy – João's first three albums – was released without authorization in England, which are out of circulation due to the process with EMI. An English record company, supported by European legislation, has been releasing the records.

Death

João Gilberto died on July 6, 2019, at the age of 88, in his home in Rio de Janeiro. The musician had been experiencing health problems for some years. The wake took place at the Municipal Theater in Rio de Janeiro and his body was buried in the Parque da Colina Cemetery, in Niterói.

Technique

innovations

Before João Gilberto, the guitar was the complement to the voice. In the music of the bossa master, voice and guitar become a single entity. Seemingly simple, John's technique actually exhibits mathematical precision.

HYPERLINK " https://pt.wikipedia.org/wiki/Jo%C3%A3o_Gilberto#cite_note-icone-5 "

In his 78 rpm debut, Chega de Saudade, João Gilberto started a revolution in Brazilian popular music. Armed only with voice, guitar and the song Chega de Saudade, he changed the course of Brazilian music and established his name in the cultural history of Brazil and the world.

With the introduction of the microphone and amplifier in Brazil, João Gilberto realized that the sound source would not need to emit the sound intensely, in the scope of the voice and the instrument, which favors subtle and internalized interpretations. On the other hand, at the time of the first recordings of bossa nova, Brazil still did not have enough fidelity equipment to reproduce more complex sounds. For this reason, João and Tom Jobim, his first arranger, elaborated complex harmonies, under the influence of North American music, and, at the same time, simplified the overall sound, due to the limited equipment. The gestures, so antagonistic, however, combine to seek the vital nucleus of the song.

John innovated in the recording of Chega de Saudade by asking two microphones, one for voice and one for the guitar. The reason is obvious, despite the shock that caused the disc producers. Until then, if recorded with just one microphone, especially voice over the guitar. Moreover, it is the very nature of the acoustic guitar being restricted in terms of sound volume with any orchestral instrument or the piano. With the voice, the guitar can compete equally, the voice remains a natural intensity, as with any voice volume lifting there are already a guitar cover-up. Thus, it is necessary to voice broadcast on a volume close to the common speech. With João Gilberto, voice and guitar remains in the same intensity of volume, with microphones capturing both equally sound sources and, if necessary, the volume change of both would be in equal proportion.

For Caetano Veloso, João innovated by suggesting a guideline for the development of samba originating from the samba-de-roda of the Bahian Recôncavo and maturing in the urban samba of Rio de Janeiro.

Harmony

The harmonic treatment of João Gilberto's music was conceived exclusively for the guitar. In the LP Chega de Saudade, for example, the orchestra's participation took place only in terms of punctuation or brief phrases, on some occasions. In the harmonic chains, or connections, João created the tonal dissonances in his left hand, on the guitar neck, in the construction of the chords.

In re-recordings of old hits, João Gilberto was characterized by the complete alteration of the original harmony, remaking it.

Rhythm

As for the rate, which is on the right hand of John the beat has traditional influence of samba. By touching chords, not arpeggios, John gave rhythm to the guitar, so that put a samba school battery miniature the six strings of his guitar. However, João Gilberto took the obviousness of marking strong time, characterized by the samba periodic marking of the deaf, in a process called by Walter Garcia as the "cooling" of the samba. On the other hand, John left implied in the medium touch impulses, ie the index finger, middle and ring. This syncope, or accentuation of weak samba time created tension music, more rhythmic impulse. João Gilberto had absolute control over the pace and always fled from the truism, regularity. This beat broke with the samba rhythm "square", creating harmonic possibilities previously impossible. Thus, John could delay or advance the pace with its compact beat, so that modernized the samba. The voice also had a rhythmic function. She collaborated with percussion, drawing or slowing, underscoring the pace by the absence, or vocal techniques. On the pulse of John, the opposition between strong and weak time was relativized by the staff. John has also changed the way to play drums, replacing the two brushes or two sticks with a broom and a drumstick, each hand with a different division.

Text

João Gilberto was characterized by prioritizing the sound of the text, to the detriment of its semantics. The absence of semantic tensions is perceived in his choice of repertoire, with lyrical-loving songs without passionate tension, such as Chega de Saudade, almost children's songs, such as O Pato and Lobo Bobo, and his own compositions, such as Bim Bom. (This concern is so common in the erudite milieu) in such a way with the details of the text of the songs he sang, excessively valuing the musical units of the song, that he moved, altered, idiosyncratically translated the details of duration, frequency, intensity and text, when omitted, added or changed parts or words of the songs, changing the effect but not the essence and identity of the song. This is so true that it was very common for the composer to feel flattered by a recording by João, like Caetano Veloso with Sampa, which João changed to record. João Gilberto was a recomposer, a songwriter-performer, being the one who did not perform what the composer created, but the one who performed what the composer failed to create. For João, the lyrics had the same importance as the melody and the rhythm, moving away from the common sense that values the lyrics, so that, if the lyrics played an extra-musical role in the song, it was immediately rejected, altered or suppressed by João.

He can even read newspaper that sounds good.

Essential to the style created by John, his corner was another mark of bossa nova beat. As already mentioned, John, with the microphone use, dispensed over and created a style appropriate to the use of the guitar, with the issue of next voice to ordinary speech. clean and dry, as the voice of Dorival Caymmi. His diction was impeccable and without a trace of accent Bahia. Integrating voice and guitar formed a whole, a single. Sometimes John was the voice as an instrument, ahead or behind the wording in relation to the guitar in a determined and precise imprecision, falling in various rhythmic positions but never damaging the balance of the song. In an interview with Tárik de Souza, John declared a fan of Orlando Silva because he "speak the sentences naturally and do not exaggerate in any point in the song," showing the essence of joãogilbertiano song: to speak and naturalness of issue fleeing the excesses at any point in the song. [importantly, removing excesses, John allowed the lyrics create emotion from its own building, running from the emotion created by the vocal craftsmen, enriching, of course, the song. Among the various techniques used, are the absence of vibrato, which give emotional weight to interpretation, but are rarely used very discreetly; the removal of strong and dynamic very strong; the harmonic complement of voice and guitar, that is, the voice sends a note that does not appear on the guitar chord, complementing it; rubato, slowing syllables and phrases, leaving the guitar move on to then achieve it, or is anticipated, mending verses, then await the arrival of the guitar; legato, like Orlando Silva, thus overturning the myth that he sang like Mário Reis, who, despite singing softly, did not use the slur, but the staccato, which is the "break" of the phrasing, that is, singing the syllables separately, with a silence between the phonemes, in almost equal size of cells; John, on the other hand, extended or diminished, gathered the notes in long sentences that sustained thanks to yogic breathing techniques. His pitch was absolutely need, but has not always been considered as well, as the revolutionary estrangement caused by his corner at the time of presentation of the new style. Gilberto also used the voice to create rhythm to the music. With techniques common in vocal ensembles of the 1940s and others created by John himself, his music was enriched. The purpose of John was to find the point where they could speak perfectly to the melody sprang naturally from the word through the proper inflection and "color" exact of each syllable.

Creation

"You can't hurt silence, which is sacred."

João Gilberto was an artisan dilettante of his music, in an eternal "febrile state" of creation, who operated within strict self-imposed limits, without ostentation of voice, speed, or decorations. She spent hours, days or months recovering - in terms of rhythm, harmony and melody - a song he heard during life, ranging from samba to boleros, in Portuguese, English, Italian or French. Considered a recomposer, João justified his tiny authorial work saying that "there are so many beautiful things to be fixed".

In this song maturation process, João Gilberto sought all harmonic and rhythmic possibilities of the song he was working on. Subtracted notes, changed the tempo, introduced silences, joined verses and words changed, resulting in something far from the original. John made the most direct and clear song. An example is the song Lígia, Tom Jobim, in which John simply removed the muse of song name, thus avoiding a spill, an emotional tension that would be to call in shouts loud. There was therefore great enthusiasm to hear John singing a song known for the first time: it was not known what was coming. John cared obsessively with a much higher trim level than required by the market, which has more than professional.

From the beginning of his career, John sought the past of popular music to raise awareness of the present. Reworked as early as the first album, Rosa Morena, Dorival Caymmi, and It's Only Luxury and Morena Boca de Ouro, old hits of Ary Barroso. This quest for the past became known throughout his career, composers of songs like Janet Almeida, herivelto martins, Noel Rosa, Bororó, Geraldo Pereira, Wilson Batista, Lamartine Babo, etc .. This search was characterized by existential discretion of own John: most of these songs he heard in childhood in Juazeiro, Aracaju or youth in Salvador and early career in Rio.

It is perceived in João Gilberto's art as a national project, an aspiration of what Brazil could be. Using samba, he broke with the entire structure of Brazilian song.

Influences

In singing, in his rhythmic division, João Gilberto publicly declared the influence he had from Orlando Silva, who he considered the greatest singer in the world. The use of loose chords referred to Johnny Alf's left hand on the piano. Dorival Caymmi's guitar also influenced João's creation, who still sought to combine samba, the Northeastern musical tradition and jazz.

According to Jon Pareles, Chet Baker's smooth vocals and Barney Kessel's chords were present in João's style. Cool jazz was also present in bossa nova harmonies.

Legacy

Monument dedicated to João Gilberto in his hometown, Juazeiro da Bahia

Whatever the new directions of our new music, let's not forget John's lesson.

It is difficult to find in the history of music any movement that can be attributed to a name. João Gilberto did this with bossa nova. Despite the great importance of Tom Jobim in the movement, João gave form, the possibility. Tom Jobim was already a great composer and arranger before the João-Gilbertian invention. However, John also took apart and rebuilt Jobim, who assimilated the John technique and changed the way of composing and arranging, with the most diverse set possibilities, becoming an icon of the music world, with John still discussing the bossa nova is a movement or a style, a jazz moment or a chapter of Brazilian popular music. It is only known that João Gilberto is his father.

Jobim defined João's weight in popular music on the back cover of his first LP, Chega de Saudade, “In a very short time, João Gilberto influenced a whole generation of arrangers, guitarists, musicians and singers.”. João Gilberto's revolution made possible the development of the work of modern musicians such as Jobim, paved the way for the new generation, such as Roberto Menescal and Baden Powell, and gave meaning to the talented musicians of the 1940s and early 1950s who were trying to find a way to modernize samba through imitation of American music, such as Johnny Alf and Dick Farney.

At the national level, any post-1958 Brazilian musician was reinvented by João Gilberto. That is, João has irreversibly altered the DNA of Brazilian popular music. Many remember the impact they had when listening to João Gilberto for the first time. Gilberto Gil says that he heard it on the radio, in Bahia, and that he was scared to hear that new sound, which made him feel strange, but which soon became an absolute passion. Caetano Veloso says that he heard João for the first time at the age of seventeen, in a bar in Santo Amaro, Bahia, at the suggestion of a gym classmate, who classified the song as "crazy", from a "subject who sang out of tune", but who soon He snatched Caetano. For Gal Costa, hearing the recording of Chega de Saudade de João for the first time on the radio, it was a "deep impact and an immediate attraction", which, despite being, at the time, totally different, strange and new, Gal embraced with passion. She says that after João, she learned to sing again, studying João Gilberto's vocal emission. Roberto Carlos, hearing for the first time Joao Gilberto, was so fascinated with the music that was static, as a revelation. Chico Buarque spent entire afternoons listening to and listening to the LP Chega de Saudade, trying to decipher the beat and harmonies of the guitar. João also influenced artists such as Rita Lee, with his "Bossa'n'Roll", Novos Baianos, who had João as musical godfather and mentor in the production of the album Acabou Chorare, Jorge Ben Jor, Cazuza, in the song Faz Parte do meu Show. Currently, João is revered by artists such as Fernanda Takai, Max de Castro, Zizi Possi, Fernanda Porto.

Internationally, João first conquered the musicians, and then the public. Together with Jobim, he made bossa nova heard in the four corners of the world.

João Gilberto's original creation of samba, which became international under the name bossa nova, and which is, to this day, the most important Brazilian contribution to world culture, runs in the vein of much of the popular music that is made in the world. . This work of transforming samba and its consolidation is the work of a genius artistic personality, one of those that emerge from time to time with a heroic civilizing mission. No wonder it is called Myth. His trajectory repeats that of the mythical hero, fighting banality and seeking purity.

Edinha Diniz

Among the great jazz musicians who are declared fans of João are Miles Davis, Stan Getz, Frank Sinatra, Ella Fitzgerald, Dizzy Gillespie, Tony Bennett, Jon Hendricks, among others. The influence of João Gilberto in jazz is consensus among music critics. Currently, João's influence on artists such as Stacey Kent and Diana Krall can be seen, who had João as his first musical reference and says that you can't be a jazz musician without learning bossa nova. Outside of jazz, John received praise famous as Madonna, Jacqueline Kennedy, Eric Clapton, Simone de Beauvoir, Jean-Paul Sartre. Bob Dylan, Beck, David Byrne, among others, reaching influence movements like indie rock and dance music. In Europe, João enjoyed great success, especially in Italy, where he performed numerous shows and even TV specials. He passed also by the Netherlands, England (which, in the 1980s, had a movement called new bossa with bands like Matt Bianco, Style Council and Everything But the Girl), France, Portugal, Spain, Germany and Belgium. João arrived in Japan, in a series of concerts, where he packed concert halls and received applause for up to 40 minutes without interruption from the Japanese people.

There are several musical genres influenced by João's style. In Brazil, Tropicália, modern MPB. Internationally, New Bossa, Acid Jazz, Drum'n'Bass.

Among academics, João is unanimous, being the object of study of great intellectuals such as José Miguel Wisnik, Luiz Tatit, Aderbal Duarte, Walter Garcia, Lorenzo Mammi, Edinha Diniz. For Garcia, João is to music what Guimarães Rosa is to literature, Oscar Niemeyer is to architecture and Pelé is to football.

In popular culture, João Gilberto is an icon. He received several honors in music, both nationally and internationally. Tony Bennett called himself a big fan of yours. It was requested for national and international film soundtracks and TV productions. Recently, a German author published a book with John as a character. It is the subject of a documentary about the process with EMI. His figure was so mysterious that a fake profile created on Facebook managed to deceive even famous artists and journalists, a fact denied by the artist's official website.

Personal life

From 1995 until the end of his life, João lived in an apartment on Rua Carlos Góes, in Leblon, in the south of Rio de Janeiro, and in 2015 he also occupied a suite at the Copacabana Palace. Hardly left the house and did not receive visits, except his daughter Bebel and his manager, Claudia Faissol, Luisa's mother, the youngest daughter. Even though he lived at the hotel, he remained faithful to old habits. "At least three times a week also seeks food here," once said Sebastião Alves, 40 years manager of Rung restaurant in Leblon.

I simply want to thank my country as a warrior and worker.

How beautiful Brazil is!

And to say that there is something different when there is life in man's soul that sow love for everything in life that really he would never be so beautiful and extraordinary as far as they have gone and left beautiful stories like books, songs and movies that will be remembered in the existence that always gives consistency to life that releases us the extraordinary lesson of living in a world of dreams and fantasies that could be born today or perhaps tomorrow and that are only young yet and are free from sin when there is love between nights and the days we will always experience euphoria that gives us peace and love for every day and so we will always be eternal lions that will always take a spark of light that sparks us from the serene, rich, strong and dark body to show our best soft light poison and vital that makes us live and understand with life under all its dictates that clears the eyes of the soul and makes us happy for the way we are and always here we are more than one because in the world we are I need to harvest the seeds of life amidst the warmth of the soul there is a gesture to the pleasure of living that dominates us and makes us say that we are infinite for the nobility of poverty that makes us rich and for the nobility of wealth that made us conquer the world with gestures, love and soul and thus we become more Brazilian and life and death teaches us to know the sayings so that we never forget how much it is worth living to never die again. Thanks!

By: Roberto Barros