This is Caetano Veloso - Bicho (1977), for Philips, frequently taken by mistake as Caetano Veloso & Banda Black Rio - Bicho Baile Show, recorded one year later. In spite of being a fantastic song, the opening track features some funky and disco music arrangements that do not represents the rest of the album, which is truly beautiful. It is really hard to review Caetano Velloso as it is very hard to get the whole experience of his records in a first hearing. Anyway, what I'm really sure is that you cannot miss this one. Perhaps I'm really bored with the infrastructure problems that happened this weekend and decided to make another of my Caetano Veloso favorites. Below is a photo of her with the group in 1974 and in 2012.I could not resist showing another Caetano Veloso album that went recently out of print again. In 1974, Liza Minnelli attended a Dzi Croquettes performance and became enamored with the group. In 2009, filmmakers Raphael Álvarez and Tatiana Issa released the documentary Dzi Croquettes, which went on to win several Brazilian and international awards. Unlike the stars of Rio’s traditional drag shows, the fourteen members of The Dzi Croquettes freely mixed masculine with feminine and challenged notions of gender rigidity. The Dzi Croquettes, formed in Rio in 1972, became yet another expression of homosexuality and gender bending in Brazilian popular culture. Below is a video of Ney performing in 1973 as the lead singer for the group Secos e Molhados. In 1978, Ney clarified his homosexuality in a magazine interview, and, in the face of widespread homophobia, he remained one of Brazil’s most famous celebrities. Ney often sang entire songs in falsetto, used dramatic makeup and exotic costumes, and danced in a style that was as traditionally feminine as it was traditionally masculine. Ney Matogrosso, on the other hand, was far less subtle in his subversion of traditional notions of gender and sexuality. Interestingly, the song is off Veloso’s album “Bicho” and is accompanied by other songs such as “A grande borboleta.” Click here for a 1897 interview with Caetano entitled “ Caetano Veloso, the Most Popular Singer/Songwriter in Brazil, Talks About Music, Sexuality, AIDS, and Creating a New Pop Nationality“, and see below to listen to a recording of “Leãozinho.” Songs like Caetano Veloso’s “Leãozinho” (1977), an intimate ode of physical and emotional admiration for another man, exposed Brazilian listeners to a form of same-sex attraction. Indeed, the overwhelming popularity of such performers reflected a growing societal acceptance of deviance from traditional Brazilian constructions gender and sexuality. Singers such as Caetano Veloso and Ney Matogrosso presented themselves as androgynous, gender-bending performers and raised important questions in society about gender roles and identities. As traditional insistence of premarital virginity and normative heterosexuality became regarded as antiquated and repressive, Brazil’s biggest stars projected unabashed sexuality and were rumored to have homosexual affairs.
Among the counterculture’s many challenges to societal norms was the destabilization of sexual codes and gender norms. By late 1960s and early 1970s, international countercultural ideas held significant sway over Brazil’s urban middle-class youth.
0 kommentar(er)
