Edited by Azizi Powell
This post prsents information about and showcases two videos of Brazilian Rafaela Silva's gold medal win in judo at the 2016 Olympics.
The Addendum to this post showcases a sound file of the song "Metamorfose Ambulante" from the 2002 movie "City Of God".
The content of this post is presented for cultural and aesthetic purposes.
All copyrights remain with their owners.
Congratulations to Rafaela Silva and thanks to the composer and performer of this showcased song. Thanks also to all those who are quoted in this post and thanks to the publishers of these YouTube examples.
****
INFORMATION ABOUT RAFAELA SILVA
From https://en.wikipedia.org/wiki/Rafaela_Silva
"Rafaela Lopes Silva (born April 24, 1992) is a Brazilian judoka. She won a gold medal at the 2013 World Judo Championships and at the 2016 Summer Olympics in the –57 kg weight division.
Career
Silva grew up in Cidade de Deus, Rio de Janeiro, primarily playing football on the streets of her neighbourhood. She was first introduced to judo at the age of 7.[2]
Silva won her first major medal by claiming silver at the 2011 World Judo Championships in Paris.[3] During the 2013 World Judo Championships in Rio de Janeiro, Silva became the first Brazilian woman to ever win a gold medal of judo for her country, defeating American Marti Malloy in the final.[4] She repeated the feat at the 2016 Summer Olympics by defeating Mongolian Sumiya Dorjsuren in the final.[5]"
****
INFORMATION ABOUT RAFAELA SLIVA'S OLYMPIC GOLD MEDAL
From http://www.latimes.com/sports/la-sp-oly-rio-2016-rafaela-silva-earns-brazil-s-first-gold-1470689220-htmlstory.html Rafaela Silva earns Brazil's first gold medal by winning judo division, Associated Press
"From the favela to the top of the podium, Rafael Silva earned Brazil's first gold medal of the Rio de Janeiro Olympics.
Silva, the country's first female world champion in judo, won the 57-kilogram division of the Japanese martial art on Monday as the crowd chanted “Rafa” and waved the green and yellow Brazilian flags.
The 24-year-old Silva beat Sumiya Dorjsuren of Mongolia after two days of disappointment on the mat for Brazil.
She also settled an old Olympic score. At the 2012 London Games, Silva was disqualified for an illegal leg grab during a fight against Hedvig Karakas of Hungary. This time, it was Silva who advanced from their quarterfinal match.
Silva, who is from Brazil's largest favela and trained at a judo dojo founded by former Olympic bronze medalist Flavio Canto, was in top form for much of the day. Her first match lasted only 46 seconds.
“Everybody here knows Rafaela's history,” said Eduardo Colli, a Brazilian fan watching the final in the stands. “This is more than just a medal, it's a victory for poor people. It's hope for all of them.”
The women's bronze medals went to Kaori Matsumoto of Japan — the defending Olympic champion — and Telma Monteiro of Portugal.
With its strong martial arts culture — including many shared techniques between Brazilian jiu jitsu, mixed martial arts and judo — Brazil had been expected to do well early in the judo competition.
But defending Olympic champion Sarah Menezes narrowly lost out on a bronze on Saturday in the 48-kilogram category, and so did Erika Miranda at 52 kilograms on Sunday. "
**
From http://nymag.com/thecut/2016/08/rafaela-silva-won-brazils-first-gold-medal.html August 9, 2016, Rafaela Silva Proved the Haters Wrong and Won Brazil’s First Gold Medal at the Rio Olympics By Theresa Avila
"Rafaela Silva has dealt with plenty of haters during her judo career — including racist online bullies hailing from her own country. In 2012, the 24-year-old faced some ugly, racially charged taunts on social media after she was disqualified from the London Olympics for an illegal leg grab. Things got so bad, she even briefly considered quitting the sport altogether.
Thankfully for Brazil and fans everywhere — she didn't quit. She won. On Monday, Silva won gold while competing in her home country; a win that came with the added distinction of being the first gold medal for Brazil at this year's Olympics.
Silva's win in the 57-kilogram division for judo against Dorjsürengiin Sumiya of Mongolia came after only 47 seconds on the mat. Her win also carried a heavier emotional significance. When she first faced the online racism after the London Olympics, many saw the moment as shedding light on the historical and ongoing racial tensions that the country has struggled with.
Silva's story resonates with some Brazilians, who see her as one with the people. She grew up in one of the country's slums, in a favela plagued with violence, according to the Washington Post. "Everybody here knows Rafaela's history," Eduardo Colli, a Brazilian watching the match, told the Associated Press. "This is more than just a medal, it's a victory for poor people. It's hope for all of them."
Silva long envisioned her moment of glory at the Olympics. The inside of her right biceps features a tattoo of the Olympic rings, according to the New York Times. It's surrounded by a note, which reads in Portuguese: “God knows how much I’ve suffered and what I’ve done to get here."
To "get here," Silva might have taken a short detour. But on Monday, she heard her name ring out from the crowd of Brazilian spectators, who beamed with pride at their new national treasure and Olympian gold medalist."
****
SHOWCASE VIDEOS
Example #1. Rafaela Silva é ouro para o Brasil - Rio 2016 - 08/08/2016 [Rafaela Silva is gold for Brazil]
Mad scientist, Published on Aug 8, 2016
****
Example #2: Rafaela Silva wins Brazil's first gold of the Games in judo
https://www.youtube.com/watch?v=q9JVULLlZVE
embedding disabled by request
NBC Sports, Published on Aug 8, 2016
Rafaela Silva takes home Brazil's first gold medal of the Olympics, beating out No.1 Sumiya Dorjsuren of Mongolia.
****
ADDENDUM: SONG FROM THE "CITY OF GOD" MOVIE
City Of God soundtrack , Metamorfose Ambulante
Joker Guy, Published on Jan 14, 2013
I knew there was not a singel good version of this song on Youtube so i decided to upload the song in good quality :). Please enjoy the song from this great film !
-snip-
Here's a comment from this sound file's discussion thread:
thiago pereira, 2014
"A good and suitable translation for "metamorfose ambulante" would be "A Walking Metamorphosis"
Eu prefiro ser essa metamorfose ambulante
(I prefer to be a walking metamorphosis)
do que ter aquela velha opinião formada sobre tudo
(rather than have an old fixed opinion about everything)"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label Brazilian music. Show all posts
Showing posts with label Brazilian music. Show all posts
Tuesday, August 9, 2016
Monday, June 6, 2016
Brazilian Chorinho Music & Two Examples Of Afro- Brazilian Composer Pixinguinha's "Carinhoso"
Edited by Azizi Powell
This post provides information about Brazilian "Choro" music and also provides information about the early 20th century Afro-Brazilian composer Pixinguinha and showcases one of his most popular compositions - "Carinhoso".
Two YouTube sound files of "Carinhoso" are showcases in this post along with selected comments from one of those sound files' discussion threads.
The Portuguese and English translation of the lyrics for this song are also featured in this post.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyright remain with their owners.
Thanks to Pixinguinha for his musical legacy. Thanks to the other musicians who are featured in one of these sound files and thanks to all those who are quoted in this post. Thanks also to the publishers of these sound files on YouTube.
****
INFORMATION ABOUT CHORO MUSIC
From https://en.wikipedia.org/wiki/Choro
"Choro ("cry" or "lament"), popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões."...
****
INFORMATION ABOUT PIXINGUINHA
From https://en.wikipedia.org/wiki/Pixinguinha
"Alfredo da Rocha Viana, Jr., better known as Pixinguinha...; April 23, 1897 – February 7, 1973) was a composer, arranger, flautist and saxophonist born in Rio de Janeiro. Pixinguinha is considered one of the greatest Brazilian composers of popular music, particularly within the genre of music known as choro. By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre. He was also one of the first Brazilian musicians and composers to take advantage of the new professional opportunities offered to musicians by the new technologies of radio broadcasting and studio recording. Pixinguinha composed dozens of choros, including some of the most well-known works in the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero"."...
Biography
Pixinguinha was the son of musician Alfredo da Rocha Viana, a flautist who maintained a large collection of older choro scores and hosted frequent musical gatherings at his home. Pixinguinha learned to play the flute at home but soon became a pupil of Irineu de Almeida, composing his first piece at age 14 and making his first recording at age 16. In 1912 he began to perform in cabarets and revues in the Rio de Janeiro neighborhood of Lapa. He then became the flautist in the house orchestra at the Cine Rio Branco movie theater (silent films at that time were often accompanied by live music). In 1914 he joined with his friends João Pernambuco and Donga to form the group Caxangá, a group which gained considerable attention before it disbanded in 1919.[1]
Five years later in 1919 [correction? 1924], Pixinguinha, along with his brother China, Donga, João Pernambuco, and other prominent musicians, formed the revolutionary musical group Os Oito Batutas (The Eight Amazing Players).[2][3] The instrumental lineup was at first fairly traditional, dominated by a rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves.[4][5] Their repertoire was diverse, encompassing folk music from northeast Brasil, sambas, maxixes, waltzes, polkas, and "brasilian tangos" (the term choro was not yet established as a genre). The group appealed especially to the nationalistic desires of upper-class Brazilians who yearned for a homegrown, uniquely Brazilian musical tradition free from foreign influences. Os Oito Batutas became a sensation across Brasil, though they were not without controversy. Certain members of the white Rio elite were not happy with black men performing in venues for example.[6]
Os Oito Batutas, and Pixinguinha specifically, were the target of attacks reflecting anxieties about race and the influence of Europe and the United States on Brazilian music. The group, which consisted of both white and black musicians, performed mainly in upper-class venues where black musicians had previously been prohibited. Moreover, they were criticized ferociously by those who felt that Brazilian musical culture should reflect primarily its European roots and that a black musical ambassador was an embarrassment. Finally, Pixinguinha's compositional style and his incorporation of trumpets and saxophones was criticized as being corrupted by American jazz, which was then becoming popular via radio broadcasts.
After performing at a gig for the dance couple Duque and Gabi at the Assírio cabaret, they were discovered by the wealthy Arnaldo Guinle who sponsored their first European tour in 1921.[7] In Paris they served as ambassadors of Brazilian music, performing for six months at the Schéhérazade cabaret. Their tour was a complete success and Pixinguinha received much praise from many distinguished Parisian musical artists including the famed Harold de Bozzi.[8] Upon returning to Brazil, they toured to Buenos Aires where they made recordings for RCA Victor. It is in these recordings that the mature sound of Os Oito Batutas can be heard"...
-snip-
Additional information about Pixinguinha is found in the comment section below.
****
LYRICS - CARINHOSO
(Pixinguinha)
Meu coração, não sei por quê
Bate feliz quando te vê
E os meus olhos ficam sorrindo
E pelas ruas vão te seguindo
Mas mesmo assim foges de mim
Ah, se tu soubesses
Como sou tão carinhoso
E o muito, muito que te quero
E como é sincero o meu amor
Eu sei que tu não fugirias mais de mim
Vem, vem, vem, vem
Vem sentir o calor dos lábios meus
À procura dos teus
Vem matar essa paixão
Que me devora o coração
E só assim então serei feliz
Bem feliz
Source: posted by Maria Teresa Delgado, 2015 in the discussion thread for this YouTube sound file (given as Example #1 below) https://www.youtube.com/watch?v=EGWg4YpS1ls.
That blogger also wrote this comment:
LA LETRA TEMA APARTE
UN ROMANTICISMO QUE NO SE PUEDE COMPARAR
-snip-
Translation from Portuguese to English translation (Google Translate)
AFFECTIONATE
(Pixinguinha)
My heart, do not know why
Bate happy when he sees you
And my eyes are smiling
And the streets will follow you
But even then they run away from me
Oh, if you only knew
As I am so tender
And much, much I want you
And how sincere is my love
I know that you no longer run away from me
Come, come, come, come
Come feel the warmth of my lips
Looking for your
Come kill this passion
That devours me heart
And just like that then I will be happy
well happy
-snip-
Commenter Maria Teresa Delgado's translated comment:
The lyrics of this song are incomparably romantic
****
FEATURED EXAMPLES
Example #1: Pixinguinha Carinhoso
Antonio Mendes Ribeiro Uploaded on Jun 30, 2008
Autor de Carinhoso
****
Exqmple #2: Carinhoso - Pixinguinha
piccinini02 Uploaded on Apr 1, 2010
The most famous song by Pixinguinha and João de Barro, "Carinhoso", here played by Chiquinho do Acordeon and Altamiro Carrilho.
-snip-
Selected comments from this sound file's discussion thread:
waldyrm, 2014
"a brazilian genius"
**
Arthur PrataBR, 2012
"música Brasileira que se perdeu no tempo e assim cada vez mais desvalorizada pelos mesmos de sua nacionalidade : \
[Google Translate from Portuguese to English] "Brazilian music that was lost in time and so increasingly undervalued by the same nationality: \"
**
Davi Medeiros, 2013
"O mestre dos mestre
Pixinguinha , um verdadeiro genio da nossa musica !"
[Google Translate from Portuguese to English]
"The master of the master
Pixinguinha, a true genius of our music!"
**
Gleison do Nascimento, 2013
"And those stupid musical critics estated this song wasn't an original brazilian one because it was influeced by the jazz. So what? Pxinguinha - an unforgettable genius of the genre and style. Happy 117º years old!"
**
Reply
Osório Thomaz, 2014
"Dear Gleison. This song is genuinely Brazilian, precisely because it is influenced by jazz, tango, samba, by the Portuguese folk songs and African rhythms. The most delicious of Brazil is to take foreign things borrowed and mix everything in our musical kitchen and come out with something even better.
Pixinguinha himself had no difficulty about it because he loved jazz.
In the 20s he mixed the music of Ernesto then Nazareh (which was then sold as Brazilian tango), Chiquinha Gonzaga and the first chorões (for foreign people: "chorões" are the musicians who plays "choros", a musical style like Carinhoso) with African rhythms and European styles and with the African American music. After this, a style giving rise genuinely Brazilian (The Brazil is the same mixture and it must be so, nationalism does not make sense here - we must to lern how to love ourselves but not to hate the foreign).
He got the major successes of the so-called golden age of Brazilian popular music, orchestrating "marchas de carnaval" (another brazilian style) and choros. He was the first conductor-arranger hired by a record company in Brazil. He was a professional musician when much of the most important musicians were amateurs (the main chorões were civil servants and made music in leisure time). Pixinguinha was primarily a researcher of music, always innovating and adding new elements in Brazilian music. He was often misunderstood, and only years later passed to give due weight to their inventions.
Pixinguinha was a child prodigy, playing cavaquinho ( a kind of ukele) at 12 and at 13 went to the euphonium and flute. Today he is recognized as the finest flautist in the history of Brazilian music. When he got older, he needs to stop playing flute and began to specialize in saxophone because he had not the necessary firmness and mouth. At 17, he recorded his first instrumentations, come to the next year writing his first compositions, nothing less than the pearls "Rosa" and "Por Que Sofres".
In 1922 he had an experience that significantly transforms his music. A millionaire sponsors a trip to Pixinguinha and his group "Os 8 Batutas" for a European tour. The Paris season that should be just a month lasts six and had to be stopped due to commitments already made in Brazil. In Europe Pixinguinha hangs contact with modern European music and American jazz, so fashionable in Paris.
If you want to get mad at the critics, no problem, after all most of them deserve it, but do not be angry with anyone who says that Pixinguinha received jazz influence. This is true, just listen to this version of "carinhoso" to feel the beat, the swing thar he uses in the flute, moreover, when he was to Europe, he had the chutzpah to make swing with flute, something that was not common in the jazz temples of that era.
He was a genius anywhere, even outside from Brazil and not have to pretend an alleged nationalist authenticity to be Brazilian. His ears got jazz, tango, samba and African rhythms like "maracatu" and his lips touched the flute and made Brazilian music. This is the Brazil that we love, just because it is open to all cultures and all peoples."
**
2015
chris house
"What year was this ?
**
Reply
ChikowsBR, 2015
"+chris house No one knows for sure, but the most accurate history, says that he has composed the melody between 1916, and 1917. But just in 1928, after years hiding the song, he has recorded the instumental officially. The history says, that he hid the song, because the melody digress from the original proposal of the music style, called as "chorinho", getting more closer from something foreign, like an Jazz."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post provides information about Brazilian "Choro" music and also provides information about the early 20th century Afro-Brazilian composer Pixinguinha and showcases one of his most popular compositions - "Carinhoso".
Two YouTube sound files of "Carinhoso" are showcases in this post along with selected comments from one of those sound files' discussion threads.
The Portuguese and English translation of the lyrics for this song are also featured in this post.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyright remain with their owners.
Thanks to Pixinguinha for his musical legacy. Thanks to the other musicians who are featured in one of these sound files and thanks to all those who are quoted in this post. Thanks also to the publishers of these sound files on YouTube.
****
INFORMATION ABOUT CHORO MUSIC
From https://en.wikipedia.org/wiki/Choro
"Choro ("cry" or "lament"), popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões."...
****
INFORMATION ABOUT PIXINGUINHA
From https://en.wikipedia.org/wiki/Pixinguinha
"Alfredo da Rocha Viana, Jr., better known as Pixinguinha...; April 23, 1897 – February 7, 1973) was a composer, arranger, flautist and saxophonist born in Rio de Janeiro. Pixinguinha is considered one of the greatest Brazilian composers of popular music, particularly within the genre of music known as choro. By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre. He was also one of the first Brazilian musicians and composers to take advantage of the new professional opportunities offered to musicians by the new technologies of radio broadcasting and studio recording. Pixinguinha composed dozens of choros, including some of the most well-known works in the genre such as "Carinhoso", "Glória", "Lamento" and "Um a Zero"."...
Biography
Pixinguinha was the son of musician Alfredo da Rocha Viana, a flautist who maintained a large collection of older choro scores and hosted frequent musical gatherings at his home. Pixinguinha learned to play the flute at home but soon became a pupil of Irineu de Almeida, composing his first piece at age 14 and making his first recording at age 16. In 1912 he began to perform in cabarets and revues in the Rio de Janeiro neighborhood of Lapa. He then became the flautist in the house orchestra at the Cine Rio Branco movie theater (silent films at that time were often accompanied by live music). In 1914 he joined with his friends João Pernambuco and Donga to form the group Caxangá, a group which gained considerable attention before it disbanded in 1919.[1]
Five years later in 1919 [correction? 1924], Pixinguinha, along with his brother China, Donga, João Pernambuco, and other prominent musicians, formed the revolutionary musical group Os Oito Batutas (The Eight Amazing Players).[2][3] The instrumental lineup was at first fairly traditional, dominated by a rhythm section of plucked strings: Pixinguinha on flute, plus guitars, cavaquinho, banjo cavaquinho, and hand percussion. Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves.[4][5] Their repertoire was diverse, encompassing folk music from northeast Brasil, sambas, maxixes, waltzes, polkas, and "brasilian tangos" (the term choro was not yet established as a genre). The group appealed especially to the nationalistic desires of upper-class Brazilians who yearned for a homegrown, uniquely Brazilian musical tradition free from foreign influences. Os Oito Batutas became a sensation across Brasil, though they were not without controversy. Certain members of the white Rio elite were not happy with black men performing in venues for example.[6]
Os Oito Batutas, and Pixinguinha specifically, were the target of attacks reflecting anxieties about race and the influence of Europe and the United States on Brazilian music. The group, which consisted of both white and black musicians, performed mainly in upper-class venues where black musicians had previously been prohibited. Moreover, they were criticized ferociously by those who felt that Brazilian musical culture should reflect primarily its European roots and that a black musical ambassador was an embarrassment. Finally, Pixinguinha's compositional style and his incorporation of trumpets and saxophones was criticized as being corrupted by American jazz, which was then becoming popular via radio broadcasts.
After performing at a gig for the dance couple Duque and Gabi at the Assírio cabaret, they were discovered by the wealthy Arnaldo Guinle who sponsored their first European tour in 1921.[7] In Paris they served as ambassadors of Brazilian music, performing for six months at the Schéhérazade cabaret. Their tour was a complete success and Pixinguinha received much praise from many distinguished Parisian musical artists including the famed Harold de Bozzi.[8] Upon returning to Brazil, they toured to Buenos Aires where they made recordings for RCA Victor. It is in these recordings that the mature sound of Os Oito Batutas can be heard"...
-snip-
Additional information about Pixinguinha is found in the comment section below.
****
LYRICS - CARINHOSO
(Pixinguinha)
Meu coração, não sei por quê
Bate feliz quando te vê
E os meus olhos ficam sorrindo
E pelas ruas vão te seguindo
Mas mesmo assim foges de mim
Ah, se tu soubesses
Como sou tão carinhoso
E o muito, muito que te quero
E como é sincero o meu amor
Eu sei que tu não fugirias mais de mim
Vem, vem, vem, vem
Vem sentir o calor dos lábios meus
À procura dos teus
Vem matar essa paixão
Que me devora o coração
E só assim então serei feliz
Bem feliz
Source: posted by Maria Teresa Delgado, 2015 in the discussion thread for this YouTube sound file (given as Example #1 below) https://www.youtube.com/watch?v=EGWg4YpS1ls.
That blogger also wrote this comment:
LA LETRA TEMA APARTE
UN ROMANTICISMO QUE NO SE PUEDE COMPARAR
-snip-
Translation from Portuguese to English translation (Google Translate)
AFFECTIONATE
(Pixinguinha)
My heart, do not know why
Bate happy when he sees you
And my eyes are smiling
And the streets will follow you
But even then they run away from me
Oh, if you only knew
As I am so tender
And much, much I want you
And how sincere is my love
I know that you no longer run away from me
Come, come, come, come
Come feel the warmth of my lips
Looking for your
Come kill this passion
That devours me heart
And just like that then I will be happy
well happy
-snip-
Commenter Maria Teresa Delgado's translated comment:
The lyrics of this song are incomparably romantic
****
FEATURED EXAMPLES
Example #1: Pixinguinha Carinhoso
Antonio Mendes Ribeiro Uploaded on Jun 30, 2008
Autor de Carinhoso
****
Exqmple #2: Carinhoso - Pixinguinha
piccinini02 Uploaded on Apr 1, 2010
The most famous song by Pixinguinha and João de Barro, "Carinhoso", here played by Chiquinho do Acordeon and Altamiro Carrilho.
-snip-
Selected comments from this sound file's discussion thread:
waldyrm, 2014
"a brazilian genius"
**
Arthur PrataBR, 2012
"música Brasileira que se perdeu no tempo e assim cada vez mais desvalorizada pelos mesmos de sua nacionalidade : \
[Google Translate from Portuguese to English] "Brazilian music that was lost in time and so increasingly undervalued by the same nationality: \"
**
Davi Medeiros, 2013
"O mestre dos mestre
Pixinguinha , um verdadeiro genio da nossa musica !"
[Google Translate from Portuguese to English]
"The master of the master
Pixinguinha, a true genius of our music!"
**
Gleison do Nascimento, 2013
"And those stupid musical critics estated this song wasn't an original brazilian one because it was influeced by the jazz. So what? Pxinguinha - an unforgettable genius of the genre and style. Happy 117º years old!"
**
Reply
Osório Thomaz, 2014
"Dear Gleison. This song is genuinely Brazilian, precisely because it is influenced by jazz, tango, samba, by the Portuguese folk songs and African rhythms. The most delicious of Brazil is to take foreign things borrowed and mix everything in our musical kitchen and come out with something even better.
Pixinguinha himself had no difficulty about it because he loved jazz.
In the 20s he mixed the music of Ernesto then Nazareh (which was then sold as Brazilian tango), Chiquinha Gonzaga and the first chorões (for foreign people: "chorões" are the musicians who plays "choros", a musical style like Carinhoso) with African rhythms and European styles and with the African American music. After this, a style giving rise genuinely Brazilian (The Brazil is the same mixture and it must be so, nationalism does not make sense here - we must to lern how to love ourselves but not to hate the foreign).
He got the major successes of the so-called golden age of Brazilian popular music, orchestrating "marchas de carnaval" (another brazilian style) and choros. He was the first conductor-arranger hired by a record company in Brazil. He was a professional musician when much of the most important musicians were amateurs (the main chorões were civil servants and made music in leisure time). Pixinguinha was primarily a researcher of music, always innovating and adding new elements in Brazilian music. He was often misunderstood, and only years later passed to give due weight to their inventions.
Pixinguinha was a child prodigy, playing cavaquinho ( a kind of ukele) at 12 and at 13 went to the euphonium and flute. Today he is recognized as the finest flautist in the history of Brazilian music. When he got older, he needs to stop playing flute and began to specialize in saxophone because he had not the necessary firmness and mouth. At 17, he recorded his first instrumentations, come to the next year writing his first compositions, nothing less than the pearls "Rosa" and "Por Que Sofres".
In 1922 he had an experience that significantly transforms his music. A millionaire sponsors a trip to Pixinguinha and his group "Os 8 Batutas" for a European tour. The Paris season that should be just a month lasts six and had to be stopped due to commitments already made in Brazil. In Europe Pixinguinha hangs contact with modern European music and American jazz, so fashionable in Paris.
If you want to get mad at the critics, no problem, after all most of them deserve it, but do not be angry with anyone who says that Pixinguinha received jazz influence. This is true, just listen to this version of "carinhoso" to feel the beat, the swing thar he uses in the flute, moreover, when he was to Europe, he had the chutzpah to make swing with flute, something that was not common in the jazz temples of that era.
He was a genius anywhere, even outside from Brazil and not have to pretend an alleged nationalist authenticity to be Brazilian. His ears got jazz, tango, samba and African rhythms like "maracatu" and his lips touched the flute and made Brazilian music. This is the Brazil that we love, just because it is open to all cultures and all peoples."
**
2015
chris house
"What year was this ?
**
Reply
ChikowsBR, 2015
"+chris house No one knows for sure, but the most accurate history, says that he has composed the melody between 1916, and 1917. But just in 1928, after years hiding the song, he has recorded the instumental officially. The history says, that he hid the song, because the melody digress from the original proposal of the music style, called as "chorinho", getting more closer from something foreign, like an Jazz."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Saturday, June 13, 2015
Brazilian Vocalist Jovelina Pérola Negra - "Sorriso Aberto" (with Portuguese lyrics & English translation)
Edited by Azizi Powell
This post showcases a sound file and video of Brazilian vocalist Jovelina Pérola Negra performing the song "Sorriso Aberto". Portuguese lyrics and English translation of this song are also included in this post. Information about Jovelina Pérola Negra and information about pagode samba that is exemplified by this showcase song are also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyright remains with their owners.
Thanks to the composer of this song and thanks to Jovelina Pérola Negra for her performance of this song. Thanks also to the transcriber of this song and thanks to the producers and publishers of these videos on YouTube.
****
INFORMATION ABOUT JOVELINA PEROLA NEGRA
From http://translate.google.com/translate?hl=en&sl=pt&u=http://pt.wikipedia.org/wiki/Jovelina_P%25C3%25A9rola_Negra&prev=search
"Jovelina Black Pearl ( Rio de Janeiro , July 21 of 1944 - Rio de Janeiro, November 2 of 1998 ), whose given name was Jovelina Farias Delford, it was a singer Brazil and one of the great ladies of the samba and pagoda"....
**
From http://bb.allmusic.com/artist/jovelina-p%C3%A9rola-negra-mn0000290212/biography Jovelina Pérola Negra - Artist Biography by Alvaro Neder
"Jovelina Pérola Negra was one of the artists (like Zeca Pagodinho, Fundo de Quintal, Almir Guineto, Jorge Aragão, and others) who was discovered during the '80s in the wake of the so-called new pagode movement. Celebrated for her potent and swinging vocal performance and the composer of several hits recorded by contemporary samba greats, Pérola Negra (her nickname meaning black pearl after her shining color) had a hard time before reaching success. After 41 years of singing in community samba parties (pagodes) in the working-class suburbs of Rio de Janeiro (at the Baixada Fluminense), and also participating in the Carnaval as a baiana of the Império Serrano samba school, she recorded her first album in 1985 along with novice artists Zeca Pagodinho, Mauro Diniz, Pedrinho da Flor, and Elaine Machado. The album, Raça Brasileira, was turned down by RGE, and was only released after one of the recording company's directors decided to sponsor it himself. The album was a major hit, and all participating artists were called to record their solo albums. She recorded her first one the next year, Jovelina Pérola Negra, followed by seven others and one collection (all released through RGE). Along with her national success, Negra also performed in Angola, France, and Japan before her precocious demise of a heart attack when she was sleeping at home in 1998."
-snip-
A sound file of this song gives its date as 1988.
****
INFORMATION ABOUT PAGODE SAMBA
From http://sambanewyork.com/pagode-samba/
"Literally meaning “fun” or “merrymaking,” the word pagode designates a typical, communal samba party in Brazil with food, drink, singing, dancing, socializing, and a circle of musicians playing informally around a table.
Since the launch of the pagode movement in Rio in the 1970s, the term has also come to refer to a distinct style of samba played at such gatherings — as well as on recordings and in concert halls — characterized by a refashioned instrumentation that includes the tantan, repique de mão, and Brazilian banjo, along with classic samba instruments like the pandeiro, surdo, tamborim, and cavaquinho."...
****
SHOWCASE VIDEOS:
Example #1: Jovelina Pérola Negra - Sorriso Aberto
Victor Carvalho, Uploaded on May 27, 2011
Sorriso Aberto
Jovelina Pérola Negra
Composição : Guará
É
Foi ruim a beça
Mas pensei depressa
Numa solução para a depressão
Fui ao violão
Fiz alguns acordes
Mas pela desordem do meu coração
Não foi mole não
Quase que sofri desilusão (bis)
Tristeza foi assim se aproveitando
Pra tentar se aproximar
Ai de mim
Se não fosse o pandeiro, o ganzá e o tamborim
Pra ajudar a marcar (o tamborim)
Logo eu com meu sorriso aberto
O paraíso perto, pra vida melhorar
Malandro desse tipo
Que balança mais não cai
De qualquer jeito vai
Ficar bem mais legal
Pra nivelar
A vida em alto astral (bis)
-snip-
English translation from http://translate.google.com/translate?hl=en&sl=pt&u=http://letras.com/jovelina-perola-negra/183186/&prev=search, added by André
It is
It was a bad galore
But I thought quickly
A solution for depression
I went to the guitar
I made a few chords
But the disorder of my heart
It was not soft
Almost suffered disillusionment (ca)
Sadness was just taking advantage
To try to approach
Poor me
If not for the tambourine, the tambourine and the ganzá
To help mark (the tambourine)
Soon I with my grin
Paradise close, to improve life
Trickster such
That balance does not fall more
Either way will
Be way cooler
To flatten
Life in high spirits (bis)
****
Example #2: Jovelina Perola Negra - Sorriso Aberto ("Grin")
Jr. Bastos - Sintonia, Uploaded on May 28, 2011
Apresentação memorável de Jovelina Pérola Negra na televisão. Trata-se de um arquivo raro que consegui na internet que, ainda, não obtive informações sobre o programa e a data desta exibição.
-snip-
Google Translate: Memorable presentation Jovelina Black Pearl on television. It is a rare file that got on the internet that also did not get information about the program and the date of this view.
****
Thanks for visiting pancocojams.
Visitor comments are
This post showcases a sound file and video of Brazilian vocalist Jovelina Pérola Negra performing the song "Sorriso Aberto". Portuguese lyrics and English translation of this song are also included in this post. Information about Jovelina Pérola Negra and information about pagode samba that is exemplified by this showcase song are also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyright remains with their owners.
Thanks to the composer of this song and thanks to Jovelina Pérola Negra for her performance of this song. Thanks also to the transcriber of this song and thanks to the producers and publishers of these videos on YouTube.
****
INFORMATION ABOUT JOVELINA PEROLA NEGRA
From http://translate.google.com/translate?hl=en&sl=pt&u=http://pt.wikipedia.org/wiki/Jovelina_P%25C3%25A9rola_Negra&prev=search
"Jovelina Black Pearl ( Rio de Janeiro , July 21 of 1944 - Rio de Janeiro, November 2 of 1998 ), whose given name was Jovelina Farias Delford, it was a singer Brazil and one of the great ladies of the samba and pagoda"....
**
From http://bb.allmusic.com/artist/jovelina-p%C3%A9rola-negra-mn0000290212/biography Jovelina Pérola Negra - Artist Biography by Alvaro Neder
"Jovelina Pérola Negra was one of the artists (like Zeca Pagodinho, Fundo de Quintal, Almir Guineto, Jorge Aragão, and others) who was discovered during the '80s in the wake of the so-called new pagode movement. Celebrated for her potent and swinging vocal performance and the composer of several hits recorded by contemporary samba greats, Pérola Negra (her nickname meaning black pearl after her shining color) had a hard time before reaching success. After 41 years of singing in community samba parties (pagodes) in the working-class suburbs of Rio de Janeiro (at the Baixada Fluminense), and also participating in the Carnaval as a baiana of the Império Serrano samba school, she recorded her first album in 1985 along with novice artists Zeca Pagodinho, Mauro Diniz, Pedrinho da Flor, and Elaine Machado. The album, Raça Brasileira, was turned down by RGE, and was only released after one of the recording company's directors decided to sponsor it himself. The album was a major hit, and all participating artists were called to record their solo albums. She recorded her first one the next year, Jovelina Pérola Negra, followed by seven others and one collection (all released through RGE). Along with her national success, Negra also performed in Angola, France, and Japan before her precocious demise of a heart attack when she was sleeping at home in 1998."
-snip-
A sound file of this song gives its date as 1988.
****
INFORMATION ABOUT PAGODE SAMBA
From http://sambanewyork.com/pagode-samba/
"Literally meaning “fun” or “merrymaking,” the word pagode designates a typical, communal samba party in Brazil with food, drink, singing, dancing, socializing, and a circle of musicians playing informally around a table.
Since the launch of the pagode movement in Rio in the 1970s, the term has also come to refer to a distinct style of samba played at such gatherings — as well as on recordings and in concert halls — characterized by a refashioned instrumentation that includes the tantan, repique de mão, and Brazilian banjo, along with classic samba instruments like the pandeiro, surdo, tamborim, and cavaquinho."...
****
SHOWCASE VIDEOS:
Example #1: Jovelina Pérola Negra - Sorriso Aberto
Victor Carvalho, Uploaded on May 27, 2011
Sorriso Aberto
Jovelina Pérola Negra
Composição : Guará
É
Foi ruim a beça
Mas pensei depressa
Numa solução para a depressão
Fui ao violão
Fiz alguns acordes
Mas pela desordem do meu coração
Não foi mole não
Quase que sofri desilusão (bis)
Tristeza foi assim se aproveitando
Pra tentar se aproximar
Ai de mim
Se não fosse o pandeiro, o ganzá e o tamborim
Pra ajudar a marcar (o tamborim)
Logo eu com meu sorriso aberto
O paraíso perto, pra vida melhorar
Malandro desse tipo
Que balança mais não cai
De qualquer jeito vai
Ficar bem mais legal
Pra nivelar
A vida em alto astral (bis)
-snip-
English translation from http://translate.google.com/translate?hl=en&sl=pt&u=http://letras.com/jovelina-perola-negra/183186/&prev=search, added by André
It is
It was a bad galore
But I thought quickly
A solution for depression
I went to the guitar
I made a few chords
But the disorder of my heart
It was not soft
Almost suffered disillusionment (ca)
Sadness was just taking advantage
To try to approach
Poor me
If not for the tambourine, the tambourine and the ganzá
To help mark (the tambourine)
Soon I with my grin
Paradise close, to improve life
Trickster such
That balance does not fall more
Either way will
Be way cooler
To flatten
Life in high spirits (bis)
****
Example #2: Jovelina Perola Negra - Sorriso Aberto ("Grin")
Jr. Bastos - Sintonia, Uploaded on May 28, 2011
Apresentação memorável de Jovelina Pérola Negra na televisão. Trata-se de um arquivo raro que consegui na internet que, ainda, não obtive informações sobre o programa e a data desta exibição.
-snip-
Google Translate: Memorable presentation Jovelina Black Pearl on television. It is a rare file that got on the internet that also did not get information about the program and the date of this view.
****
Thanks for visiting pancocojams.
Visitor comments are
Thursday, December 27, 2012
Two Songs By Brazilian Vocalist/Guitarist Djavan - Flor de Lis & Oceano
Edited by Azizi Powell
This post features videos by Brazilian vocalist/guitarist Djavan performing two of his popular songs: "Flor De Lis" and "Oceano".
This post also includes information about Djavan and the Portuguese lyrics and English translations of these two songs.
The content of this post is presented for entertainment and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT DJAVAN
From http://en.wikipedia.org/wiki/Djavanhttp://en.wikipedia.org/wiki/Djavan
FEATURED VIDEOS & LYRICS
Video #1: 16-djavan-Flor de lis [HD 640x360 XVID Wide Screen].avi
VSDECO1, Uploaded on Jan 30, 2012
DVD ÁRIA
LYRICS: Flor de lis
(Djavan)
Flor de Lis [Portuguese]
Valei-me Deus, é o fim do nosso amor
Perdoa por favor, eu sei que o erro aconteceu
Mas não sei o que fez tudo mudar de vez
Onde foi que eu errei
Eu só sei que amei, que amei, que amei, que amei
Será, talvez, que minha ilusão
Foi dar meu coração com toda força
Pra essa moça me fazer feliz
E o destino não quis
Me ver como raiz de uma flor de lis
E foi assim que eu vi nosso amor na poeira, poeira
Morto na beleza fria de Maria
E o meu jardim da vida ressecou, morreu
Do pé que brotou Maria
Nem margarida nasceu
**
Lily Flower [English]
God, help me, our love is over
Forgive me, I know I did something wrong
But I don't know what exactly made things change so suddenly
What did I do wrong?
I'm only sure that I loved and loved like no one else
Can it be that my mistake was
To have given my heart to her with all my soul
So she could make me a happy man
But the destiny did not want me
to be attached to someone as are roots to a lily flower?
This way I watched our love coming to dust,
Dying in the coldness of her beauty
And the garden of my life wilted and died
And on the same tree she once blossomed from,
Not even a single daisy has bloomed anymore
Lyrics from http://lyricstranslate.com/en/flor-de-lis-lily-flower.html submitted by algebra on Thu, 22/07/2010
****
Video #2: Djavan – Oceano
Uploaded on Sep 27, 2011
LYRICS: OCEANO
(Djavan)
Oceano [Portuguese]
Assim que o dia amanheceu
Lá no mar alto da paixão
Dava prá ver o tempo ruir
Cadê você?
Que solidão!
Esquecera de mim?
Enfim,
De tudo o que
Há na terra
Não há nada em lugar nenhum!
Que vá crescer
Sem você chegar
Longe de ti
Tudo parou
Ninguém sabe
O que eu sofri...
Amar é um deserto
E seus temores
Vida que vai na sela
Dessas dores
Não sabe voltar
Me dá teu calor...
Vem me fazer feliz
Porque eu te amo
Você deságua em mim
E eu oceano
E esqueço que amar
É quase uma dor...
Só sei viver
Se for por você!
**
Ocean [English]
As day dawned
There, over the sea of the passion
I could see the time in ruins
Where are you?
What a loneliness!
Did you forget me?
And then,
In name of all that
exists in this earth, I swear that
There won't be, at nowhere,
a thing that grows up,
without your presence
Far from you,
all is paralyzed
Nobody knows
how I suffered
Love is a desert
with many threats
Life riddles on the saddle
of my pain
And doesn’t know the way back
Give me your heat
Come and make happy
because I love you.
You flow into me
and I am the ocean.
And I forget that love...
is almost pain
I only can to live
if I live for you
Lyrics from http://lyricstranslate.com/en/oceano-ocean.html-0 , submitted by algebra on Thu, 05/03/2009
****
ACKNOWLEDGEMENT AND THANKS
Thanks to Djavan for composing & performing these songs. Thanks also to the other musicians featured in these videos, the transcribers of these songs, the author/s of Djavan's Wikipedia page, and the uploaders of these videos.
Thank you for visiting pancocojams.
Viewer comments are welcome.
This post features videos by Brazilian vocalist/guitarist Djavan performing two of his popular songs: "Flor De Lis" and "Oceano".
This post also includes information about Djavan and the Portuguese lyrics and English translations of these two songs.
The content of this post is presented for entertainment and aesthetic purposes.
All copyrights remain with their owners.
INFORMATION ABOUT DJAVAN
From http://en.wikipedia.org/wiki/Djavanhttp://en.wikipedia.org/wiki/Djavan
Djavan... full name Djavan Caetano Viana) is a Brazilian singer/songwriter, (born 27 January 1949, in Alagoas, Brazil)[1] Djavan combines traditional Brazilian rhythms with popular music drawn from the Americas, Europe and Africa. He can arguably be categorized in any of the following musical genres: Música Popular Brasileira (Brazilian pop), samba, or Latin dance.
Born into a poor family in Maceió (capital of Alagoas, Northeastern Brazil), Djavan formed the group Luz, Som, Dimensão (LSD – "Light, Sound, Dimension"), playing Beatles' singles. In 1973, Djavan moved to Rio de Janeiro and started singing in local nightclubs. After competing in several festivals, he gained attention and recorded the album A Voz, o Violão e a Arte de Djavan in 1976. The album included the song "Flor de Lis," which became one of his most memorable hits. Albums that followed included his other musical influence, African music, and additional hits followed, such as "Açaí", "Sina," and "Samurai," which featured Stevie Wonder's harmonica. His best known compositions are: "Meu Bem Querer," "Oceano," "Se...," "Faltando um Pedaço," "Esquinas," "Te devoro," and "Serrado".
FEATURED VIDEOS & LYRICS
Video #1: 16-djavan-Flor de lis [HD 640x360 XVID Wide Screen].avi
VSDECO1, Uploaded on Jan 30, 2012
DVD ÁRIA
LYRICS: Flor de lis
(Djavan)
Flor de Lis [Portuguese]
Valei-me Deus, é o fim do nosso amor
Perdoa por favor, eu sei que o erro aconteceu
Mas não sei o que fez tudo mudar de vez
Onde foi que eu errei
Eu só sei que amei, que amei, que amei, que amei
Será, talvez, que minha ilusão
Foi dar meu coração com toda força
Pra essa moça me fazer feliz
E o destino não quis
Me ver como raiz de uma flor de lis
E foi assim que eu vi nosso amor na poeira, poeira
Morto na beleza fria de Maria
E o meu jardim da vida ressecou, morreu
Do pé que brotou Maria
Nem margarida nasceu
**
Lily Flower [English]
God, help me, our love is over
Forgive me, I know I did something wrong
But I don't know what exactly made things change so suddenly
What did I do wrong?
I'm only sure that I loved and loved like no one else
Can it be that my mistake was
To have given my heart to her with all my soul
So she could make me a happy man
But the destiny did not want me
to be attached to someone as are roots to a lily flower?
This way I watched our love coming to dust,
Dying in the coldness of her beauty
And the garden of my life wilted and died
And on the same tree she once blossomed from,
Not even a single daisy has bloomed anymore
Lyrics from http://lyricstranslate.com/en/flor-de-lis-lily-flower.html submitted by algebra on Thu, 22/07/2010
****
Video #2: Djavan – Oceano
Uploaded on Sep 27, 2011
LYRICS: OCEANO
(Djavan)
Oceano [Portuguese]
Assim que o dia amanheceu
Lá no mar alto da paixão
Dava prá ver o tempo ruir
Cadê você?
Que solidão!
Esquecera de mim?
Enfim,
De tudo o que
Há na terra
Não há nada em lugar nenhum!
Que vá crescer
Sem você chegar
Longe de ti
Tudo parou
Ninguém sabe
O que eu sofri...
Amar é um deserto
E seus temores
Vida que vai na sela
Dessas dores
Não sabe voltar
Me dá teu calor...
Vem me fazer feliz
Porque eu te amo
Você deságua em mim
E eu oceano
E esqueço que amar
É quase uma dor...
Só sei viver
Se for por você!
**
Ocean [English]
As day dawned
There, over the sea of the passion
I could see the time in ruins
Where are you?
What a loneliness!
Did you forget me?
And then,
In name of all that
exists in this earth, I swear that
There won't be, at nowhere,
a thing that grows up,
without your presence
Far from you,
all is paralyzed
Nobody knows
how I suffered
Love is a desert
with many threats
Life riddles on the saddle
of my pain
And doesn’t know the way back
Give me your heat
Come and make happy
because I love you.
You flow into me
and I am the ocean.
And I forget that love...
is almost pain
I only can to live
if I live for you
Lyrics from http://lyricstranslate.com/en/oceano-ocean.html-0 , submitted by algebra on Thu, 05/03/2009
****
ACKNOWLEDGEMENT AND THANKS
Thanks to Djavan for composing & performing these songs. Thanks also to the other musicians featured in these videos, the transcribers of these songs, the author/s of Djavan's Wikipedia page, and the uploaders of these videos.
Thank you for visiting pancocojams.
Viewer comments are welcome.
Friday, March 9, 2012
Focus On Olodum - Salvador Bahia
Edited by Azizi Powell
Madagascar Olodum
matteosedda, Uploaded on Mar 24, 2011
****
This post focuses on the Brazilian group Olodum. Here's some information about that group from its YouTube bio page:
"Olodum is a cultural activism group created with the objectives of fighting racial discrimination and socioeconomic inequality. They have recorded ten LPs/CDs and have worked with Wayne Shorter, Jimmy Cliff, Herbie Hancock, Michael Jackson, Paul Simon, and Spike Lee. The group draws 4,000 people to parade in the bloco (which has about 200 musicians) at Salvador BA carnival, gives lectures on social and political issues, and publishes a monthly news journal, Bantu Nagô. The group also runs a factory for clothes and musical instruments sold to the public and a school for Salvador's poor children.
Olodum was created in Salvador, BA, in April 25, 1979. Olodum takes its name from the Yoruba deity Olodumaré ("God of Gods," in Yoruba language). Originally a bloco afro (a Bahian Carnival association devoted to research and the celebratation of black culture), the group drew 800 people to the streets in their first Carnival (1980). In the next year, they already had 2,000 affiliates. In 1983, the group constituted the Grupo Cultural Olodum. Neguinho do Samba joined the group that year as mestre (master) and is the figure responsible for the winning combination of samba and reggae that characterizes the group's musical approach. In 1984, Olodum was acknowledged as a state public utility organization, had 3,000 people parading in their bloco, was featured in the documentary Carnival Bahia. In 1987, their first LP, Egito, Madagascar, made a hit with "Faraó," by Luciano Gomes dos Santos, and sold more than 50,000 copies. Two years later, the group did their first performances in Europe and, in the next year, played again in Europe and in Japan, Argentina, and Chile."
FEATURED VIDEOS
Video #1: Madagascar Olodum
This video is placed at the top of this post.
****
Video #2: Olodum Salvador Bahia HD
Uploaded by MrRonny63 on Feb 12, 2011
-snip-
Here are four English language comments from that viewer comment thread:
"michael jackson's song THAY DON'T CARE ABOUT US !! :)"
-BIRDANGAL; December 2012
**
"@BIRDANGAL actually, it's one of the original beats created by the "olodum movement" that was born in Salvador da Bahia, Brazil. And no, the beat from MJ song is different, if you listen carefully. Check "Paul Simon Obvious Child" (that was released in 1990, meaning 15 years earlier than MJs) and there you will find this exact beat!"
-MrBrunoLKSl, December 2012
**
"Has nearly the same ritm as paul simon the obvious child. Very nice done. Nice hd video too. super! Greetings from holland."
-ghj9018 February 2012
**
"@ghj9018 Paul Simon borrowed the rythm from Olodum, actually, and it was Olodum that did the percussion for the song to which you are referring. They are awesome!"
-quackzinho ; February 2012
[Editor: Click http://www.youtube.com/watch?v=y11yMCnhxZE for a sound file of Paul Simon's "The Obvious Child".]
****
Video #3: Michael Jackson - They Don't Care About Us
Uploaded by michaeljacksonVEVO on Oct 2, 2009
Music video by Michael Jackson performing They Don't Care About Us. (C) 1996 MJJ Productions Inc.
****
Video #4: Batucadas do olodum (BAHIA,SALVADOR)
Uploaded by MyRockpower on Sep 3, 2009
-snip-
Here's information about the meaning of the Portuguese word "batucada" from http://en.wikipedia.org/wiki/Batucada:
"Batucada is a substyle of samba and refers to an African influenced Brazilian percussive style, usually performed by an ensemble, known as a Bateria. Batucada is characterized by its repetitive style and fast pace"
****
Video #5: OLODUM CARNAVAL 2011 - RITOS DOGONS
Uploaded by marlinh0 on Oct 19, 2011
****
Video #6: Olodum / Requebra
Uploaded by denisvick on Jun 11, 2011
****
Video #7: Olodum - Oh Berimbau!
Uploaded by maxten on Mar 2, 2009
Oh berimbau
pedaço de arame pedaço de pau
juntou com a cabaça virou berimbau
-snip-
From http://en.wikipedia.org/wiki/Berimbau:
"The berimbau... Brazilian Portuguese... is a single-string percussion instrument, a musical bow, from Brazil. The berimbau's origins are not entirely clear, but there is not much doubt about its African origin, as no Indigenous Brazilian or European people use musical bows, and very similar instruments are played in the southern parts of Africa. The berimbau was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira, where it commands how the capoeiristas move in the roda."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Madagascar Olodum
matteosedda, Uploaded on Mar 24, 2011
****
This post focuses on the Brazilian group Olodum. Here's some information about that group from its YouTube bio page:
"Olodum is a cultural activism group created with the objectives of fighting racial discrimination and socioeconomic inequality. They have recorded ten LPs/CDs and have worked with Wayne Shorter, Jimmy Cliff, Herbie Hancock, Michael Jackson, Paul Simon, and Spike Lee. The group draws 4,000 people to parade in the bloco (which has about 200 musicians) at Salvador BA carnival, gives lectures on social and political issues, and publishes a monthly news journal, Bantu Nagô. The group also runs a factory for clothes and musical instruments sold to the public and a school for Salvador's poor children.
Olodum was created in Salvador, BA, in April 25, 1979. Olodum takes its name from the Yoruba deity Olodumaré ("God of Gods," in Yoruba language). Originally a bloco afro (a Bahian Carnival association devoted to research and the celebratation of black culture), the group drew 800 people to the streets in their first Carnival (1980). In the next year, they already had 2,000 affiliates. In 1983, the group constituted the Grupo Cultural Olodum. Neguinho do Samba joined the group that year as mestre (master) and is the figure responsible for the winning combination of samba and reggae that characterizes the group's musical approach. In 1984, Olodum was acknowledged as a state public utility organization, had 3,000 people parading in their bloco, was featured in the documentary Carnival Bahia. In 1987, their first LP, Egito, Madagascar, made a hit with "Faraó," by Luciano Gomes dos Santos, and sold more than 50,000 copies. Two years later, the group did their first performances in Europe and, in the next year, played again in Europe and in Japan, Argentina, and Chile."
FEATURED VIDEOS
Video #1: Madagascar Olodum
This video is placed at the top of this post.
****
Video #2: Olodum Salvador Bahia HD
Uploaded by MrRonny63 on Feb 12, 2011
-snip-
Here are four English language comments from that viewer comment thread:
"michael jackson's song THAY DON'T CARE ABOUT US !! :)"
-BIRDANGAL; December 2012
**
"@BIRDANGAL actually, it's one of the original beats created by the "olodum movement" that was born in Salvador da Bahia, Brazil. And no, the beat from MJ song is different, if you listen carefully. Check "Paul Simon Obvious Child" (that was released in 1990, meaning 15 years earlier than MJs) and there you will find this exact beat!"
-MrBrunoLKSl, December 2012
**
"Has nearly the same ritm as paul simon the obvious child. Very nice done. Nice hd video too. super! Greetings from holland."
-ghj9018 February 2012
**
"@ghj9018 Paul Simon borrowed the rythm from Olodum, actually, and it was Olodum that did the percussion for the song to which you are referring. They are awesome!"
-quackzinho ; February 2012
[Editor: Click http://www.youtube.com/watch?v=y11yMCnhxZE for a sound file of Paul Simon's "The Obvious Child".]
****
Video #3: Michael Jackson - They Don't Care About Us
Uploaded by michaeljacksonVEVO on Oct 2, 2009
Music video by Michael Jackson performing They Don't Care About Us. (C) 1996 MJJ Productions Inc.
****
Video #4: Batucadas do olodum (BAHIA,SALVADOR)
Uploaded by MyRockpower on Sep 3, 2009
-snip-
Here's information about the meaning of the Portuguese word "batucada" from http://en.wikipedia.org/wiki/Batucada:
"Batucada is a substyle of samba and refers to an African influenced Brazilian percussive style, usually performed by an ensemble, known as a Bateria. Batucada is characterized by its repetitive style and fast pace"
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Video #5: OLODUM CARNAVAL 2011 - RITOS DOGONS
Uploaded by marlinh0 on Oct 19, 2011
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Video #6: Olodum / Requebra
Uploaded by denisvick on Jun 11, 2011
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Video #7: Olodum - Oh Berimbau!
Uploaded by maxten on Mar 2, 2009
Oh berimbau
pedaço de arame pedaço de pau
juntou com a cabaça virou berimbau
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From http://en.wikipedia.org/wiki/Berimbau:
"The berimbau... Brazilian Portuguese... is a single-string percussion instrument, a musical bow, from Brazil. The berimbau's origins are not entirely clear, but there is not much doubt about its African origin, as no Indigenous Brazilian or European people use musical bows, and very similar instruments are played in the southern parts of Africa. The berimbau was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira, where it commands how the capoeiristas move in the roda."
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