Peace

Brazil Beat column, published 4/03 in The Beat Magazine

Mara Weiss and Nego Beto

Greetings and peace to all Beat readers. Once again Brazil Beat has landed in America do Norte! The slow train from New Zealand has brought your faithful writers back to these fair California shores, and we give thanks for the safe passage for our family. Straight off the summer Kiwi vibe BrazilBeat Sound System looks forward to mixing up California with some South Pacific styles (it’s all about drum’n bass) and house alongside the Brazilian flavors.

Interestingly, both New Zealand and Brazil stand out as places who held their ground beside the UN, refusing to support the US-led war on Iraq. Brazilian president “Lula,” the most progressive world leader to be elected anywhere of late, steers his government tediously through political and financial mazes, but at least he’s got the cultural side covered. Lula’s appointment of Gilberto Gil as Minister of Culture made a lot of people really happy. Analysts who have been following the progress of the Brazilian music industry noted a 10% increase in record sales in 2002, and expect Brazil to enter the top 10 countries in the music industry worldwide this year. With Gil in charge, upliftment on musical, artistic, theatrical and cinematic fronts is assured!

The biggest Brazilian film to come out of the booming cinema movement since Gil took over as Minister is Cidade de Deus (City of God), which won a Cannes Official Selection, among other prestigious accolades. The intense realism of favela life on the big screen shocks and evokes many different emotions. It will make you want to jump up and applaud, it will make you want to be sick. It will leave you with a hole in your heart. Kids with guns can be a staggering image. But know that it is not just an image, it is a way of life. The City of God is a real place, but God never goes there. We pass by it every time we ride the Saens Pena-Taquara bus. You look out the window at those block buildings, with their tiny windows and narrow streets, and you feel the oppressiveness of it. Gang wars, like in the film, are half the panic people live with on a daily basis (police terror makes up the rest), all engulfed in poverty we can never begin to understand. Director Fernando Meirelles has gotten a lot of attention for drawing the cast from ordinary people living in the favela, instead of professional actors. Critics loved the stark realism conveyed and the fact that much of the script was actually improvised by the actors. But the little-heard and stinging commentary to come out of Cidade de Deus following the film’s success is a stark reminder of of what true reality is. Rapper (and friend) MV Bill, who has lived most of his 21 years in CDD wrote in a press release: “This film did not bring anything good for the favela, no social, moral or human benefits... they exploited the image of our children here in CDD... they stereotyped our people and gave the people nothing in return. Even worse, they stereotyped as Fiction, but sold it as the Truth.” It’s important to remember that the reality of CDD, and all favelas, includes amazing community leaders and groups of citizens wholly dedicated to improving the standard of living and fighting for the rights of the favela population. Their struggle must be upheld!

A truly phenomenal film, Cidade de Deus actively uses its soundtrack (Milan Records) to differentiate between the three time periods in which it is set--the ‘60s, the early ‘70s and the late ‘70s. The excellent selection of period songs and original music by Antonio Pinto and Ed Cortes sound great in the film, and just as great in your living room, i.e. stand-out classics such as “Metamorfose Ambulante” by Raul Seixas and “Na Rua, Na Chuva, Na Fazenda” by Hyldon/Cassiano and Cartola’s “Alvorada.” The highlight for us was the bonus track, a samba/batucada remix from Dj Camilo Rocha and Dj Yah featuring dialogue samples from the film. Goosebumps material! (www.cidadededeus.com.br)

And for a touch of glamour after the gritty, nothing better than a martini and a couple of good listens to Tribalistas (Metro Blue). Tribalistas is what Marisa Monte, Carlinhos Brown and Arnaldo Antunes are calling themselves, when they happen to be in the same place at the same time and can make music together. Longtime friends, the three are all huge figures in contemporary Brazilian music, often collaborating on each others’ albums and projects. With Monte in the producer’s chair here, the minimalism of the instrumentation reveals the power of each nylon string note, each drum beat. Her sultryvocals, alongside the male harmonies, develop an originalissimo crop of songs, rife with regional influences, that are pure MPB. The thirteen tracks offer compelling insight into this highly creative friendship. From the warmth of “Carnavalia,” to the nether-worldly “O Amor é Feio” (“Love is Ugly”) to the urban energy of “Anjo da Guarda” (“Guardian Angel”); each song reveals different Tribalista aspects, without getting over-complex. And the love songs are beautiful! Don’t miss this chance to hear a collaborative gem from three Brazilian superstars.

Since arriving in the US, we have also had the chance to hear the pre-release of the album from Puerto Rican-Brazilian band Bayanga. Bayanga piqued a lot of interest two years ago when they debuted on the West Coast reggae scene at Sierra Nevada World Music Festival. Since then they have gotten busy. Big ups to Dr. Dread for signing them to Ras Records and co-producing their self titled debut album. Hearing Bayanga--if you didn’t know they are from Puerto Rico--you might find yourself wondering if you were listening to the newest axé band from Salvador. In this seriously danceable mixture, you hear the reggae in the samba-reggae. Their mix of Puerto Rican and Cuban-styled brassy arrangements, fortified by surdos (bass drums) and a big Brazilian rhythm section educe the melodies, harmonies and energy of Bahian carnival. The whole thing is one great big mash of genres For a chance to see what might just be the next Big Thing, catch their second Sierra Nevada performance, slated for Sunday, June 22. (www.bayanga.com)

As a closing thought, we reflect on how difficult it is to NOT be political when writing about music. It is all connected. May the hope for peace never die.


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