Caetano
Emanuel Viana Teles Veloso (Portuguese pronunciation: [kaeˈtɐ̃nu emanuˈɛw viˈɐ̃nɐ ˈtɛlis
veˈlozu]; born August 7, 1942), better known asCaetano Veloso, is a Brazilian composer,
singer, guitarist,
writer, and political activist. Veloso first became known for his
participation in the Brazilian musical movement Tropicalismo,
which encompassed theatre, poetry and music in the 1960s, at the beginning of
the Brazilian military dictatorship. He
has remained a constant creative influence and best-selling performing artist
and composer ever since. Veloso has won nine Latin Grammy Awards and two Grammy
Awards. On November 14, 2012, Veloso was honored as the Latin Recording Academy
Person of the Year.[1]
Veloso was one
of eight children born into the family of José Teles Velloso (Seu Zeca), a
government official, and Claudionor Viana Teles Velloso (Dona Canô), a
housewife.[2] He
was born in the city of Santo Amaro da Purificação, in Bahia, a state in the
northeastern area of Brazil, but moved to Salvador, the state capital, as a
college student in the mid-1960s. Soon after the move, Veloso won a music
contest and was signed to his first label.
He became one of the founders of Tropicalismo with
a group of several other musicians and artists—including his sister Maria
Bethânia—in the same period. However the Brazilian government at the time
viewed Veloso's music and political action as threatening, and he was arrested,
along with fellow musician Gilberto
Gil, in 1969. The two eventually were exiled from Brazil, and went to
London, where they lived for two years. After he moved back to his home
country, in 1972, Veloso once again began recording and performing, becoming
popular outside of Brazil in the 1980s and 1990s.
Early years
(1942–1969)
Veloso was
born in Santo Amaro da Purificação, Bahia, the fifth of
seven children of José Teles Veloso (1901–1983) and Claudionor Viana Teles
Veloso (1907–2012). His childhood was influenced greatly by artistic endeavors:
he was interested in both literature and filmmaking as a child, but focused mainly
on music. The musical style of bossa nova and João
Gilberto, one of its most prominent exponents, were major influences on
Veloso's music as he grew up.[3] Veloso
first heard Gilberto at 17 years old, and describes the musician as his
"supreme master."[4] He
recognizes Gilberto's contribution to Brazilian music as
new—"illuminating" the tradition of Brazilian music and paving the
way for future innovation.[4] Veloso
moved to the Bahian port city of Salvador as
a teenager, the city in which Gilberto lived and a center of Afro-Brazilian culture
and music.[5]
1n 1965 he
moved again to Rio de Janeiro, with his sister Maria
Bethânia, also a musician. Shortly after the move, Veloso won a lyrics contest
for his composition "Um Dia" and was signed to Philips
Records.[6] Beginning
in 1967, with collaborators including Bethânia, Gilberto
Gil, Gal
Costa, Tom Zé, and Os Mutantes,
Veloso developed Tropicalismo, which fused Brazilian pop with rock
and roll and avant-garde music. Veloso describes the movement as
a wish to be different—not "defensive" like the right-wing Brazilian military government, which
vehemently opposed the movement. Leftist college students also condemned
Tropicalismo because they believed it commercialized Brazilian traditional
music by incorporating musical influence from other cultures, specifically the
United States.[4] Even
though Tropicalismo was controversial among traditional critics, it introduced
to Música Popular Brasileira new
elements for making music with an eclectic style.[7]
Veloso studied philosophy at
the Universidade Federal da Bahia,[3] which
influenced both his artistic expression and viewpoint on life. Two of his
favorite philosophers were Jean-Paul
Sartre and Martin Heidegger.[7] Veloso's
leftist political stance earned him the enmity of Brazil's military
dictatorship which ruled until 1985; his songs were frequently censored and
some banned. Veloso and Gil spent several months in prison in 1969 and then
were sent into exile.
He said that "they didn't imprison us for any song or any particular thing
that we said," ascribing the government's reaction to its unfamiliarity
with the cultural phenomenon of Tropicália—they seemed to say "We might as
well put them in prison."[8] The
federal police detained the two and flew them to an unknown destination.
Finally, Veloso and Gil lived out their exile in London, England. When Caetano
was asked about his experience there he says, "London felt dark, and I
felt far away from myself." Nevertheless, the two improved their music
there and were asked to make a musical production with the producer Ralph Mace.[7]
Musical career
(1972–present)
Veloso
performs in Lisbon,
Portugal in 2007
Veloso's work
upon his return in 1972 was often characterized by frequent merging not only of
international styles but of Brazilian folkloric styles and rhythms as well. His
popularity grew outside Brazil in the 1980s, especially in Israel, Greece,
Portugal, France, and Africa. His records released in the United States, such
as O Estrangeiro, helped gain him a larger audience.
To celebrate
25 years of Tropicalismo, Veloso and Gilberto Gil released a CD called Tropicalia
2 in 1993.[9] One
song, "Haiti", attracted people's attention during the time,
especially because it included powerful statements about sociopolitical issues
present in Haiti and
also in Brazil. Issues addressed in the song included ethnicity,poverty, homelessness,
and capital corruption in the AIDS
pandemic.[9][10] By
2004, he was one of the most respected and prolific international pop stars,
with more than 50 recordings available including songs in film soundtracks of Michelangelo Antonioni's Eros, Pedro
Almodóvar's Hable con ella, and Frida, for which he
performed at the 75th Academy Awards but did not win. In
2002 Veloso published an account of his early years and the Tropicalismo
movement, Tropical Truth: A Story of Music and Revolution in Brazil.
His first
all-English CD was A Foreign Sound (2004), which
covers Nirvana's "Come as You Are" and
compositions from the Great American Songbook such as "The Carioca" (music
by Vincent Youmans and lyrics by Edward
Eliscu and Gus Kahn), "Always" (music and lyrics by Irving
Berlin), "Manhattan" (music by Richard
Rodgersand lyrics by Lorenz Hart), "Love for Sale" (music and lyrics by Cole Porter),
and "Something Good" (music and lyrics by
Richard Rodgers). Six of the seven songs on his third eponymous album,
released in 1971, were also in English.
Veloso has
contributed songs to two AIDS benefit compilation albums produced by the Red Hot Organization: Red
Hot + Rio (1996) and Onda Sonora: Red Hot + Lisbon (1998).
In 2011, he
again contributed two songs to the Red Hot Organization's most recent
compilation album, "Red Hot + Rio 2." The two tracks include Terra
(Prefuse 73 '3 Mellotrons In A Quiet Room' Version) and Dreamworld: Marco de
Canaveses, in collaboration with David Byrne.
His September
2006 album, Cê,
was released by Nonesuch Records in the United States. It won
two Latin Grammy Awards, one for best
singer-songwriter[11] and
one for Best Portuguese Song, "Não Me Arrependo".[12] With
a total of five Latin Grammys, Veloso has received more than any other
Brazilian performer.
Veloso has won
nine Latin Grammy Awards and two Grammy
Awards. On November 14, 2012, Veloso was honored as the Latin Recording Academy
Person of the Year.[1]
Personal life
Veloso married
fellow Baiana and actress Andrea Gadelha (or Dedé) on November 21, 1967 in a
ceremony that reflected the air of the counterculture era. Their son Moreno was
born November 22, 1972. On December 13, 1983 their daughter Júlia was born. She
died a few days later. Veloso’s father died on December 13, 1983. Veloso
separated from Dedé Veloso in 1983. In 1986 Veloso married Rio native Paula
Lavigne, with whom he had two more sons, Zeca Lavigne Veloso, born March 7,
1992, and Tom Lavigne Veloso, born January 25, 1997 in Salvador. This marriage
lasted twenty years. Although separated since 2004, the two still work
together. Veloso’s 1989 CD “Estrangeiro” includes songs (“Esse Amor, which
means "This Love” and “Branquinha”) inspired by and dedicated to, respectively,
his ex-wife Dedé and his wife at the time, Paula Lavigne.[14][15][16][17]
Musical style
Veloso says that he is unable to
make a comparison between his musical style in the 1960s, at the height of
Tropicália, and his current work. He does note, however, that he has been able
to accomplish music of a higher quality later in his career; that he is
"better at everything."[4]
http://en.wikipedia.org/wiki/Caetano_Veloso
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