AMERICAN BLUES ROCK BAND MADE in BRAZIL PAGE 01 Ressucitating the Pantheon of Rock

Total Page:16

File Type:pdf, Size:1020Kb

AMERICAN BLUES ROCK BAND MADE in BRAZIL PAGE 01 Ressucitating the Pantheon of Rock OS GRINGOS American Blues Rock Made in Brazil: The extraordinary journey of an American/Brazilian Rock Band Way Down South Media "The Animal Kingdom is Comprised by four ex-pat Americans and one native-born Brazilian one of the most unique and whose paths crossed in Brazil in 2014, Os Gringos continue writing creative albums of 2017... their own unlikely and unparalleled story, while commanding a While The Gringos may be one-of-a-kind blues rock sound with energetic and captivating Brazil’s best kept secret stage presence. they certainly deserve a large global audience... All from different corners of the US, the four met while teaching 9/10 stars." English in Brazil, where they quickly became friends with their PETE FRANCIS BLUES ROCK REVIEW (USA) Brazilian drummer. Go on to the second page to read about their accolades: "No. 3 Album of 2017." PETE FRANCIS BLUES ROCK REVIEW (USA) "Rock arrogance and sexy passion... Os Gringos are proof that quality rock n roll has no geographic limits." DAN SYWALA MUSIKUS (CZECH REPUBLIC) OS GRINGOS: AMERICAN BLUES ROCK BAND MADE IN BRAZIL PAGE 01 Ressucitating the Pantheon of Rock Their second independently produced album, The Animal Kingdom, was chosen as the No. 3 Album of the Year by Blues Rock Review "These guys in 2017. In 2018 the band played 8 shows across 5 states in the US on their Back Home for the First Time tour, including opening for plant their Robby Krieger of The Doors at the Indiana State Fair. 2019 promises the release of the first singles of their upcoming album, Only The Hungry. feet on the With more than 250 shows over the past 4 years, Os Gringos are seasoned on stage and embody a performance that traverses cultures, breaks down barriers and takes audiences on a musical ground and trip. put our vibe in the clouds" RUMORS MAG (CAMPINAS) SOCIAL MEDIA SITE www.osgringos.com E-MAIL / CONTACT [email protected] [email protected] [email protected] (Producer) +55 35 9 9751 7758 (Producer) OS GRINGOS: AMERICAN BLUES ROCK BAND MADE IN BRAZIL PAGE 02.
Recommended publications
  • Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
    Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice).
    [Show full text]
  • Domination and Resistance in Afro-Brazilian Music
    Domination and Resistance In Afro-Brazilian Music Honors Thesis—2002-2003 Independent Major Oberlin College written by Paul A. Swanson advisor: Dr. Roderic Knight ii Table of Contents Abstract Introduction 1 Chapter 1 – Cultural Collisions Between the Old and New World 9 Mutual Influences 9 Portuguese Independence, Exploration, and Conquest 11 Portuguese in Brazil 16 Enslavement: Amerindians and Africans 20 Chapter 2 – Domination: The Impact of Enslavement 25 Chapter 3 – The ‘Arts of Resistance’ 30 Chapter 4 – Afro-Brazilian Resistance During Slavery 35 The Trickster: Anansi, Exú, malandro, and malandra 37 African and Afro-Brazilian Religion and Resistance 41 Attacks on Candomblé 43 Candomblé as Resistance 45 Afro-Brazilian Musical Spaces: the Batuque 47 Batuque Under Attack 50 Batuque as a Place of Resistance 53 Samba de Roda 55 Congadas: Reimagining Power Structures 56 Chapter 5 – Black and White in Brazil? 62 Carnival 63 Partner-dances 68 Chapter 6 – 1808-1917: Empire, Abolition and Republic 74 1808-1889: Kings in Brazil 74 1889-1917: A New Republic 76 Birth of the Morros 78 Chapter 7 – Samba 80 Oppression and Resistance of the Early Sambistas 85 Chapter 8 – the Appropriation and Nationalization of Samba 89 Where to find this national identity? 91 Circumventing the Censors 95 Contested Terrain 99 Chapter 9 – Appropriation, Authenticity, and Creativity 101 Bossa Nova: A New Sound (1958-1962) 104 Leftist Nationalism: the Oppression of Authenticity (1960-1968) 107 Coup of 1964 110 Protest Songs 112 Tropicália: the Destruction of Authenticity (1964-1968) 115 Chapter 10 – Transitions: the Birth of Black-Consciousness 126 Black Soul 129 Chapter 11 – Back to Bahia: the Rise of the Blocos Afro 132 Conclusions 140 Map 1: early Portugal 144 Map 2: the Portuguese Seaborne Empire 145 iii Map 3: Brazil 146 Map 4: Portuguese colonies in Africa 147 Appendix A: Song texts 148 Bibliography 155 End Notes 161 iv Abstract Domination and resistance form a dialectic relationship that is essential to understanding Afro-Brazilian music.
    [Show full text]
  • Brazillian Voices
    FROM BRAZIL TO THE WORLD Who are the Brazilian Voices Brazilian Voices is a female vocal ensemble engaged in musical performances as an instrument for the advancement of intercultural, educational, philanthropic and entertainment activities, with the purpose of creating a peaceful artistic movement with social responsibility to the local and global community. Five times award winner of the International Brazilian Press Awards, Brazilian Voices is composed of about fifty females who have been expanding Brazilian music in the United States, Brazil, Italy and Spain singing famous composers of Brazilian music. Brazilian Voices will immerse you in the beauty of the Brazilian culture with the educational program “From Brazil to the World”. Through a combination of informative presentations and live performances, the participants will learn in an interactive and interesting way about Brazilian rhythms and culture. Music allows all of us to develop a greater capacity for concentration, creative group work, and imagination, while fostering a greater sense of responsibility as well as more adaptive interpersonal involvement. Music also offers unique communication as it provides individuals with an alternative channel of interaction and participation with a wide range of abilities, from listening and active contribution to adept performance. With these objectives in mind, Brazilian Voices has developed this educational program that offers a broader understanding and greater appreciation of musical and cultural diversity. FROM BRAZIL TO THE WORLD What to Know About Brazil Discovered in 1500, Brazil was colonized by the Portuguese, but its population is very diverse, with many races and ethnic groups. Brazil declared its independence in 1822, now being a Federal Republic with a multi-party political system, holding democratic elections.
    [Show full text]
  • Contemporary Carioca: Technologies of Mixing in A
    Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos
    [Show full text]
  • The Brazilian Sound Samba, Bossa Nova, and the Popular Music of Brazil 1St Edition Pdf, Epub, Ebook
    THE BRAZILIAN SOUND SAMBA, BOSSA NOVA, AND THE POPULAR MUSIC OF BRAZIL 1ST EDITION PDF, EPUB, EBOOK Christopher McGowan | 9781592139293 | | | | | The Brazilian Sound Samba, Bossa Nova, and the Popular Music of Brazil 1st edition PDF Book He has been a translator and publicity writer for recording companies in Brazil and contributed articles to The Beat and other publications. Return to Book Page. View Metrics. Sort order. Wikimedia Italia added it Dec 31, Trevor Stevens marked it as to-read Aug 04, K rated it really liked it Nov 29, Ravi Gangadat rated it really liked it Mar 07, Chapter Three. Lavishly illustrated with black-and-white photos, 12 maps, and 12 figures, it covers the remarkable breadth of Brazilian music in a highly readable, lively manner. Enlarge cover. In addition, it attempts to trace the relations between Brazilian and U. Juanchu Chu added it Nov 06, Trivia About The Brazilian Sou Maya rated it liked it May 04, Other Editions 3. Their book features new coverage of funk, rap, and hip-hop and profiles new samba artists as well as artists on the rise in electronic dance music and other genres. Brazilian Instrumental Music and Jazz 9. Want to Read Currently Reading Read. This site uses cookies. Get A Copy. Commonwealth Kalfou. Showing The volume is clearly intended for a broad, general audience, and that accounts for both its strengths and, from an academic viewpoint, its weaknesses. Showing More information about this seller Contact this seller. Citing articles via Google Scholar. Includes invaluable descriptions of styles, musical instruments, and short biographical data on composers and singers.
    [Show full text]
  • [Review of the Book Brazilian Popular Music and Citizenship, Edited by I
    Please do not remove this page [Review of the book Brazilian Popular Music and Citizenship, edited by I. Avelar and C. Dunn] Herrera, Eduardo https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643445480004646?l#13643538620004646 Herrera, E. (2012). [Review of the book Brazilian Popular Music and Citizenship, edited by I. Avelar and C. Dunn]. AmeriQuests, 9(1-2). https://doi.org/10.7282/T3FB555S This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/01 07:54:24 -0400 Avelar, Idelber, and Christopher Dunn. Brazilian Popular Music and Citizenship. Durham: Duke University Press, 2011. Scholarly studies on music have for the past thirty years paid particular attention to the ways in which music participates in the construction of national identity. In the case of Brazil, music has often been identified as a crucial expressive practice that creates concrete emblems that stand for and create the nation. By socializing people into experiencing a national sentiment, music actively contributes in generating feelings of identification with an imagined community. However, this is only the first part of the equation when thinking about the dashed identity group associated with the nation-state. Belonging to a nation is often conceived as a subjective position exemplified by feelings of pride, patriotism and even shame and guilt, while associations with the state is seen as an objective condition exemplified by identification documents, taxes, passports, etc. In a way, one is born into a state (thus conferred a citizenship), while socialized into a nation.
    [Show full text]
  • Brazil: “Que País É Este”?
    BRAZIL: “QUE PAÍS É ESTE”? MUSIC AND POWER IN LEGIÃO URBANA Ana Cláudia Lessa Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2011 0 Abstract This thesis addresses, amongst other issues, the phenomenon of protest music with particular reference to Brazil within its pre- and post-dictatorship period. The time- frame being understood as that which finds its roots many decades prior to the 1964 so-called revolution – a de facto military putsch – and comes to flower in the democratic moment of the 1980s and since. The focus will be, eventually, directed to one of the most celebrated Brazilian rock phenomena, the band Legião Urbana, the impact of which still resonates across the artistic, cultural and political scene in Brazil and beyond. In order to establish the context in which such a claim can be viable, the thesis explores the ideological and historical background to the emergence, on a national, and international, stage of something beyond the artistic and cultural ‗dependence‘ seing before that period within Brazilian music. Key Words Rock‗n‘Roll, Punk rock, protest music, popular culture, BRock, Brazilian music, dictatorship, Legião Urbana. 1 Acknowledgements I would like to thank all my previous colleges and professors who helped me to be here today, contributing in different forms and through different periods of the development of this thesis. Also a great thank you to all my students ever, for their curiosity and interest in everything-Brazilian. Without those students I would not exist as a professional. To Nicholas Shaw, my friend and mentor, who has been such an important influence and inspiration during my stay in the UK, and my love for this green land.
    [Show full text]
  • Rap, Reggae, Rock, Or Samba
    Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95) Author(s): Gerard Béhague Source: Latin American Music Review / Revista de Música Latinoamericana, Vol. 27, No. 1 (Spring - Summer, 2006), pp. 79-90 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/4121698 . Accessed: 04/01/2014 12:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Latin American Music Review / Revista de Música Latinoamericana. http://www.jstor.org This content downloaded from 150.254.100.169 on Sat, 4 Jan 2014 12:47:44 PM All use subject to JSTOR Terms and Conditions GerardBehague Globalization/Modernization Selected Reports in Ethnomusicology 11 (2003) Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95) The notion of the global village and of the globalization of pop culture in the 1980s and 1990s has been perhaps over- taxed; the word "globalization"itself keeps losing its edge and thus needs to be re-sharpened periodically. In tackling the Western impact on world music in the 1980s, Bruno Nettl reached the indisputable conclusion that our century has been a period of musically "unprecedenteddiversity" (1985, 3), given the "intense interchange of musical ideas." The result of this in- tense interchange has undoubtedly modified the ways people think about themselves at both micro and macro levels.
    [Show full text]
  • The Sublime Frequencies of New Old Media
    The Sublime Frequencies of New Old Media David Novak A new world of world music was built on Cambodian Rocks. The CD was released on the New York City – based Parallel World label in 1996, and for most listeners, it was hard to find anything else like it. The com- pilation collected tracks from a number of legendary 1960s Phnom Penh bar bands, most of whose members were executed by the Khmer Rouge soon after the recordings were made. Their brief reinventions of garage rock powerfully echo the impact of the US presence in Southeast Asia and the global spread of record- ing and broadcast technologies during this period. On Cambodian Rocks, the Western listener hears the psychedelic sounds of Santana, James Brown, and the Animals anew through the ears of seemingly anonymous Cambodian musicians. The mystery of the music was amplified by the opaque presentation of its ori- gins. The compiler, Paul Wheeler, an American English teacher in Japan who had collected cassettes on a brief tour of Cambodia in 1994, provided no biographi- cal detail for the material, neglecting even track titles or artist names. Although several of these songs are beloved classics for Cambodians, the backgrounds and artistic intentions of the musicians were unknown for Western listeners. For those cognizant of Cambodian folk music styles, the mix of sounds might suggest the continuity of traditional vocal techniques and local song forms beneath the novel rhythms, reverb, and twang of imported rock music. But most North Americans, who heard this music for the first time in the 1990s, were surprised and intrigued I would like to acknowledge the Society of Fellows in the Humanities at Columbia University for support in writing this article.
    [Show full text]
  • Sophie Joseph, Evan Williams, Zach Hoyt Script for Podcast PORT3280/3890 Professor Gibson 11 April 2013
    Sophie Joseph, Evan Williams, Zach Hoyt Script for podcast PORT3280/3890 Professor Gibson 11 April 2013 HOST INTRO: Fuzzed out, distorted guitar. The Beatles. Social unrest. Samba drums? During the late 1960s, a Brazilian rock movement emerged and asked: ‘just what is the Brazilian identity?’ A close-knit group of musicians combined traditional Afro-Brazilian sounds with the new rock-and-roll influence and created the Tropicália movement. Facing opposition from the military regime and ardent Brazilian nationalists, they ventured to expand what it means to be Brazilian. Sophie Joseph, Evan Williams, and Zach Hoyt investigate. MUSIC TRACK 1: (30 seconds of music—“Tropicália” by Caetano Veloso) TRACK 1: In the 1950s, Brazil grew economically and industrially, hopeful about the state of their country. But, that’s not the way it turned out. In 1964, there was a military coup that replaced the democratically elected president. People felt really stongly about what happened, and music was a way for them to express their feelings. But not everybody agreed on how to do that. On one side there were these university students who believed that Brazilian music should be strictly Brazilian. On the other side, there were working class folks that got hooked on the rock scene and didn’t care about the foreign influence. Dr. Dan Sharp, an ethnomusicologist studies the music of northeastern Brazil, says: ACT 1/Daniel Sharp “This whole idea that either you’re politically engaged as a musician or you’re escapist and alienated and part of the problem—that needs to be demolished. That binary.
    [Show full text]
  • Transforming Brazilian Speech Into Popular Song: an Interview with Luiz Tatit
    Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 132–138 DOI: https://doi.org/10.33178/alpha.19.10 Transforming Brazilian Speech into Popular Song: An Interview with Luiz Tatit Tamara Courage and Albert Elduque Figure 1: Luiz Tatit. Image: Gal Oppido. In this interview, Luiz Tatit explores some specificities of Brazilian popular song which may explain the considerable success of music documentaries in the country. Such specificities include the connection between popular song and daily speech, its ties with Brazilian national identity and its complex relationship with foreign music styles. The interview was held telephonically on 9 April 2020. Luiz Tatit (São Paulo, 1951) is a Professor in the Department of Linguistics at the Faculty of Philosophy, Languages and Literature, and Human Sciences at the University of São Paulo (FFLCH-USP). For decades his research, which interweaves semiotics and musicology, has been focused on the structure and the style of Brazilian popular song. Books such as Semiótica da canção: Melodia e letra (Semiotics of the Song: Melody and Lyrics, 1994), O cancionista: Composição de canções no Brasil (The Song Composer: Composition of Songs in Brazil, 1996) and O século da canção (The Century of Song, 2004) include an innovative close reading of song lyrics, © Luiz Tait, Tamara Courage, Albert Elduque This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License 133 but also reflect critically on the evolution of music styles, thus providing a complete and multifaceted analysis on twentieth-century Brazilian musical traditions. Tatit has also consolidated a career as a distinguished singer and songwriter, both as a founding member of Grupo Rumo (1974–), which played a key role in São Paulo’s avantgarde musical scene in the 1970s and 1980s (Vanguarda Paulista), and as a solo artist from the late 1990s onwards.
    [Show full text]
  • Apuntes Sobre El Rock
    Apuntes sobre el Rock Trabajo de investigación realizado por los alumnos de la materia Apreciación auditiva 1 dictada en Emu-Educación Dirección y Coordinación: Luis Aceto. Fuentes: http://es.wikipedia.org http://int.soyrock.com http://www.rock.com http://www.magicasruinas.com.ar/rock/revrock244.htm http://www.rincondelvago.com/ LA HISTORIA DEL ROCK ENCICLOPEDIA DIARIO LA NACION Publicada por el Diario La Nacion en 1993 Discografía existente de Las Bandas Definición: La Palabra rock se refiere a un lenguaje musical contemporáneo que engloba a diversos géneros musicales derivados del rock and roll, que a su vez proviene de una gran cantidad de fuentes, principalmente blues, rythm and blues y country, pero también del gospel y jazz INDICE Orígenes: 50´s pag.3 60´s, / 70´s pag.8 70´s / 80´s pag.10 80´s / 90´s pag.13 90´s pag.18 2000´s pag.19 géneros de música derivados del Rock & Roll pag.20 En la versión de Word presione Control + B para buscar el nombre de una banda Orígenes: Bluegrass Estractado De Wikipedia, la enciclopedia libre El bluegrass (literalmente, "hierba azul") es un estilo musical incluido en el country que, en la primera mitad del siglo XX, se conoció como Hillbilly. Tiene sus raíces en la música tradicional de Inglaterra, Irlanda y Escocia, llevada por los inmigrantes de las Islas Británicas a la región de los Apalaches Denominación El nombre bluegrass procede del nombre del área en que se originó, llamada "región Bluegrass" (Bluegrass region), que incluye el norte del estado de Kentucky y una pequeña parte del sur del estado de Ohio.
    [Show full text]