May 10, 2016

RhoDeo 1619 Roots

Hello, yesterday in Last Week Tonight Jon Oliver showed the world images of Rodrigo 'The Punisher' Duterte on which he told us he killed 3 people in the last 3 months, his death squads have murdered more than 1000 supposed criminals these last decades, when he was the mayor of Davao. On this record he joined the presidential election of the Philippines and won today. Duterte, a pugnacious 71-year-old, surged from outsider to the top of surveys with cuss-filled vows to kill tens of thousands of criminals, threats to establish one-man rule if lawmakers disobeyed him and promises to embrace communist rebels. Those guilt ridden Philippine Catholics have a thing coming....


Today, the final post in reverse temporal order, on one of Brazil's greatest jazz and ballad singers of the 1960s and '70s, a highly-regarded but tragic artist who was something like her country's version of Edith Piaf. She hosted a popular television show ("O Fino Do Fino") and used her fame to boost the careers of many of the best new Brazilian composers of the era. Before her untimely death at the age of thirty-six, she was widely regarded as Brazil's greatest living popular vocalist. She was noted for her vocalization, as well as for her personal interpretation and performances in shows... .....N'Joy

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Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land) and her second LP, "Poema", employing a number of popular musical styles of the era.

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net) by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música popular brasileira or Brazilian Popular Music), distinguished from the previous bossa nova and other preceding musical styles, although samba is very much at its core. Most of her entire 20 year recorded discography is still available.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque, Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper"), opening a window on both her singing style and personality.

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator, pianist/composer/arranger César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger César Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction. More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.

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Trem Azul is the final recorded performace by Elis Regina recorded 1981, at São Paulo, the immortal Brazilian super diva. She is in great form, fronting a hot brass, reed, and guitar combo. In front of a boisterous crowd, she rips through 25 fast-paced songs, some of which are short, while others are abbreviated intros to full songs (Ivan Lins' "Começar De Nova" is just a tantalizing one verse transition). This is a bootleg recording made before the tragic accident that took her life in 1982 at age 36, plunging Brazil into a state of mourning that persists to this day. The tracks were remastered as much as possible from a pirated 8-Track master: it has a sharp, clear sound to it, delivering her every breath, but the 'recorded behind the curtain' aspect is still there. She truly was Furacão (the hurricane) and "pimentinha" (little pepper).



Elis Regina - Trem Azul  (flac  377mb)

01 Aprendendo a Jogar 4.47
02 Alô, Alô Marciano 4.01
03 O Medo de Amar E o Medo de Ser Livre 4.17
04 O Trem Azul 04.30
05 Vento de Maio 3.12
06 Se Eu Quiser Falar com Deus 7.32
07 Flora 5.56
08 Valsa de Euridice 3.35
09 Unencounter (Canção da America) 2.49
10 Me Deixas Louca (Me Vuelves Loco) 6.28
11 Sai Dessa 2.09
12 Aqui É do Futebol 4.22
13 Baila Comigo 1.02
14 Amante À Moda Antiga 0.58
15 Tema Do Fantástico 0.18
16 Começar De Novo 0.46
17 Tema Dos Trapalhões 0.21
18 Menino do Rio 1.02
19 The Fuzz 0.23
20 Lança-Perfume 1.28
21 Nove Luas 0.43
22 O que Foi Feito de Vera 2.38
23 Caxang ? 2.53
24 Maria Maria 4:20
25 Trem Azul 3:01

 Elis Regina - Trem Azul    (ogg  161mb)

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n May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller. They repeated the accomplishment in 1966 (Dois Na Bossa, No. 2) and again in 1967 with this album. The atmosphere was clearly dominated by the fact that Brazil was under a severe military dictatorship -- Regina's passionate addresses to the audiences and her choice of repertoire ("Marcha Da Quarta-Feira de Cinzas" can be read in this context even if it was written before 1964) contrasts with Rodrigues' silence in that respect. As in all three albums, together they cover a medley of sambas along with solo performances. The album is not a typical bossa album, despite what the title indicates. It is more of a samba release, with strong influences of bossa in harmonies and arrangements, but with the stronger, hotter grip of the samba groove. The section dedicated to bossa is a romantic medley shared by both artists.



Regina e Rodrigues - Dois Na Bossa 3  (flac  194mb)

01 Imagem 2:38
02 Popurri De Mangueira 5:01
03 O Ser Humano 2:55
04 Cruz De Cinza, Cruz De Sal 2:03
05 Serenata Em Teleco-Teco 2:05
06 Manifesto 3:20
07 Elis Regina & Jair Rodrigues Popurri Romântico 5:45
08 Amor De Carnaval 3:00
09 Marcha De Quarta-Feira De Cinzas 3:05
10 Capoeira Camará 2:20

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In April of 1965 Jair Rodrigues (who was at the top of the charts with "Deixa Isso Pra Lá" by Alberto Paz/Edson Menezes, recorded on Rodrigues' Vou de Samba Com Você from the preceding year) was hurriedly invited by producer Walter Silva to replace Baden Powell in a show with Elis Regina at the Paramount Theater in São Paulo. The show, performed on April 10 with the accompaniment of the Jongo Trio, gathered 2,000 people who climbed the stage at the end of the performance, frantically crying for more. The overwhelming success yielded an invitation for the duo to host the TV show O Fino da Bossa (TV Record) the following month, while the show at the Paramount was recorded live and released on this historic album. If the precarious recording and emotional perturbations reflecting on the performances are viewed as drawbacks, Dois Na Bossa, No. 2 has increased importance as a document of the pure joy and rhythmic exuberance of the music. It also may be mentioned that almost all of the songs were chosen critically in view of the military dictatorship imposed the preceding year and the audible approval of the audience. "Ziguezague," included here, was a follow-up to "Deixa Isso Pra Lá."



Regina e Rodrigues - Dois Na Bossa 2 (flac 216mb)

01 Pot-Pourri: Introdução/Samba de Mudar/Não Me Diga Adeus/Volta Por Cima 5:06
02 Preciso Aprender A Ser Só 3:38
03 Zigue Zague 3:47
04 Terra De Ninguém 2:47
05 Arrastão 3:59
06 Reza 3:44
07 'Ta Engrossando 2:18
08 Deus Com A Família 2:28
09 Ué 1:59
10 Menino Das Laranjas 3:02

Regina e Rodrigues - Dois Na Bossa 2  (ogg   74mb)

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In May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller.



Elis Regina e Jair Rodrigues - Dois Na Bossa (flac 175mb)

01 Pot Pourri - A) O Morro N Tem Vez B) Feio No Bonito C) Samba Do Carioca
02 Preciso Aprender a Ser S
03 Zigue Zague
04 Terra de Ningum
05 Arrasto
06 Reza
07 T Engrossando
08 Sem Deus Com a Famlia
09 Ue
10 Menino das Laranjas

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In 1961, the Porto Alegre-born, 16-year-old Elis Regina recorded her first album, and within 12 months was proclaimed 'Best Singer of the Year' in the south of Brazil. From the beginning, her vocal talent was indisputable, startling even, and furthermore she had a hunger to match. Nicknamed 'The Hurricane' or 'Pimentinha' ('Little Pepper') - allusions to her tempestuous mood swings and unquenchable drive - the youthful Elis made the move first to Rio de Janeiro where she forged a birth certificate in order to sing in night clubs and stowed away in bathrooms during police raids. She then proceeded to São Paulo where she captivating audiences with charm and style and beautiful interpretations of bossa nova tunes composed by such legends as Tom Jobim and Vinicius de Moraes. Elis blazed through the 1960s, setting new standards for interpretive style. She recorded bossa, samba and the new electric songs of the MPB composers. Like Carmen Miranda, she had an uncompromising attitude toward her work, which she tackled consciously and systematically, but always self-critically.



Elis Regina - Viva a Brodolandia (flac 178mb)

01 Dá Sorte 2.10
02 Sonhando (Dreamin') 2.45
03 Murmúrio 2.31
04 Tu Serás 1.50
05 Samba Feito Pra Mim 2.21
06 Fala-Me De Amor (Take Me In Your Arms) 2.25
07 Baby Face 2.22
08 Dor De Cotovelo 2.42
09 Garoto Último Tipo (Puppy Love) 2.23
10 As Coisas Que Eu Gosto (My Favourite Things) 3.05
11 Mesmo De Mentira 2.45
12 Amor, Amor (Love, Love) 2.47

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