Tropiclia ou panis et circensis rar

But in , Caetano Veloso and Gilberto Gil — and their friends, including Os Mutantes — brought an end to this dichotomy when they took the stage at the immensely popular Third Festival of Brazilian Popular Music. They stunned the crowd including almost any Brazilian with access to a television and their critics with their innovative style, fusing international and local musical forms.

The movement, which quickly became known as Tropicalismo, used foreign sounds and instruments along with typical Brazilian ones to make uniquely Brazilian music, while lyrically satirizing the extremes on both ends of the musical debate.

I started this site in late when I was living in New York City, missing Brazil but fortunate to be surrounded by lots of great opportunities to hear Brazilian music. I wanted to share that music with friends and family and any other readers out there who wonder what the songs they're listening to are saying, and why.

Because of the demands of the PhD program, I haven't been able to post as frequently as I'd like, but am still writing whenever I can and when inspiration strikes!

Please let me know if there is a song you would like translated or would like to hear more about. You can leave a comment here or anywhere else on the site, or on the Facebook page. You can follow the blog by clicking "Follow" at the bottom of the main page, and follow blog posts and other updates on Facebook: www. View all posts by lyricalbrazil. Reblogged this on msamba. As he explains in the book Gilberto Gil: Todas as Letras, shortly after arriving, he […]. By the time the dictatorship took power, in , she was the glowing face that the government wanted to promote as this new type of Brazilian they were ushering in.

Her first album, Nara Leao displays the cosmopolitan, aspirational sound that Bossanova was striving for. Unlike the rebellious rock that was slowly creeping in, here was a sound that was tempered by jazz-y modalities.

Her music and image, was all logical expressions of what a young Brazilian should strive for, not like the uncontrollable sound of western rock-n-roll. However, the lyricism and artists herself was nothing like the person they expected her to be. The tale of tape shows that she was in tune with a new movement advancing underground.

Songs by Vinicius de Moraes, Edu Lobo, and Baden Powell, were from performers trying to take the bossanova further from the chi-chi or jet-set crowd that favored that sound.

As popular as she was, she would run into the likes of Caetano or Maria Bethania, and find in them a common cause. Other musicians like Sergio Mendes or Edson Machado were trying hard to break into the foreign market by promoting a watered-down version of the original bossanova she was performing. By the end of , she openly made headlines by declaring that she wanted to do nothing with bossanova and berating those who used it as a tool for conformity. A spell with throat problems, gave the government a welcome break to both remove Nara from the program, and for her focus to shift elsewhere.

Little by little, she was gathering righteous steam. Her next releases like O Canto Livre de Nara , and Manha de Liberdade started and engaged with her audience topics of poverty, class inequality, and disappointment with the state of the country. All a new lineage of musicians who saw something dangerous in a competing style, Jovem Guarda , or Young Guard.

As her notoriety closed the walls of fame around her, Nara understood her open disdain and participation in protesting the military junta had run its course. Physically and mentally, her mind was already elsewhere, though. Looking towards Europe for a holistic escape, a brief tour in Portugal, had solidified a new influence Nara had been toying with: Gallic music.

At that moment, in her last Brazilian-recorded album, Coisas Do Mundo , songs by Bertolt Brecht and Jacques Brel had been spun into her own imaginings. Orchestrations and arrangements speaking to a far less Brazilian style started to creep in. By , when she fully embraced the idea of starting anew, Paris became her newfound homeland.

At that moment, for her, music was the last thing on her mind. Pregnant with her first child, Isabel, Nara devoted herself wholesale to motherhood, only performing sparingly when the mood suited her. With time, she came across the realization that music still had something to speak to her child.

For that reason alone, she had to leave a statement for her. Creating a songbook for her daughter to get an understanding of the Brazilian music she left behind, Nara chose 24 songs from spanning from largely known bossanova standards, to hidden, tucked-away gems of choro or early samba origins, Dez Anos Depois would encapsulate ten years later everything, including the promise, bossanova held for her.

Nara would reimagine them in a way no one had realized, in a way that showed both the essence right below the tracks and the promise they still could hold for others.

Dez Anos Depois began with recording sessions in Paris, led by the mercurial Tuca and nearly bereft of any accompaniment. Ela apresenta com o nome Feist, e participa da banda Broken Social Scene.

Ela e os seus colegas de banda ganharam um Concurso de Bandas local e foram premiados tocando na abertura do show dos Ramones. Buck 65, com quem Feist fez turnes como abertura de show, apareceu no videoclipe "One Evening".

Marcadores: feist , let it die , monarch , open season , pop , rock , the reminder. Um dos melhores compositores e multiinstrumentista da atualidade na Alemanha. No final de setembro [de ], ela deu a luz a uma linda menina chamada Dora-Liisa", conta Kuurmaa. A substituta para Maarja entrou em julho de Tsunami Bomb USA. Tsunami Bomb foi uma banda de punk rock da cidade de Petaluma, California formada em que encerraram suas atividades em outubro de No ano seguinte, conseguiram o segundo lugar no festival da Record acompanhando Gilberto Gil em "Domingo no Parque".

Tu-Fawning USA.