JungleDrums issue 85 - October 2010

Page 1

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HJE:GHI6G H:J ?DG<: DC :9J86I>DC! G:KDAJI>DC 6C9 L=N =:ÉH BDK>C< ID A#6# THE BIG DEBATE: DID BRASILIAN MUSIC DIE IN THE SEVENTIES?

THE ESSENTIAL TOP TEN FROM AFROREGGAE TO TOM ZÉ

COMPETITIONS, REVIEWS & EXCLUSIVE ALMAZ TOUR SNAPS

YOUR CD! FREE

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World´s Leading Airline to South America World Travel Awards 2009

presents

Adriana Calcanhotto Trobar Nova Monday 25 October Union Chapel

Doors 7pm Compton Terrace N1 2UN 08444 771 000 www.comono.co.uk www.wegottickets.com

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on two of the hottest tickets this month: this month's cover star Seu Jorge, back at the Roundhouse, and Adriana Calcanhotto, with a wonderfully intimate gig at the Union Chapel. UGG OQTG QP RCIGU CPF

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special compilation of new Brasilian music with this edition, which even features material from our age old columnist Arnaldo Antunes and amazing new talent Andreia Dias (left)! EJGEM QWV RCIG CPF JKV QWT YGDUKVG

FOR YOURSELF the heat, energy and rhythm of the street as Brasilian dance troop BalĂŠ de Rua return for another exciting run down at the Peacock Theatre, from 2nd Nov YKP VKEMGVU QP RCIG

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Y^k^YZ je YOUR TIME WISELY to be sure to catch all October’s events and exhibitions, such as this CandomblĂŠ ritual-inspired piece called ‘Orixa’ by Marilène Oliver, in her solo show Carne Vale at Beaux Arts. SGG QWT #IGPFC QP R GG QWT #IGPFC QP R HQT OQTG KFGCU

vibes as sounds, images and movement from and inspired by Salvador da Bahia burst forth at House Party Brazil on 24th Oct, with capoeira, music from Natema and dance from Everaldo Pereira. Âż PF QWV OQTG CV LWPINGFTWOUQPNKPG EQO

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FROM THE STREETS OF UBERLÂNDIA TO THE STAGES IN THE WORLD Eighteen years ago, three friends from the peripheries of Uberlândia began to meet up with other local youths to celebrate street culture. Marco Antônio Garcia, Fernando Narduchi and José Maciel Silva consequently embarked upon a journey fueled with “fighting spirit”, as Fernando put it. With no support from the government or the press, the group continued to pursue an individual style in which a Brasilian ethos could be manifested within the culture of hip-hop. The story of Balé de Rua started to take shape in 2000 when they received a state prize that guaranteed contracts as professional ballet dancers. It was then possible to dedicate themselves entirely to dance, and the group continued its work until 2002, when a performance at the Lyon Dance Biennal lured the curiosity of the producer Pierre Morand. And so a new, international phase of the company was born. The group's eponymous live show is the product of a collaboration that started in 2006, when Frenchman Paul Desveaux visited Brasil to help structure the performance. Thus Balé de Rua succeeded in combining the local and the global, the street and the stage, as well as offering free dance classes to kids on the edges of society. Dancer Sandra Mara, the group's only female, defines the production by a “desire to win”, and encourages beginners to always believe in their ideals, With a new singer on board, Mara promises even more Brasilian energy as the group “lifts up the audience”. ,&

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7JH@>C< 67GD69 SÃO PAULO HOSTS FIRST EVER METRO MUSICIANS GLOBAL FEST If you happen to be on the tube in São Paulo in November, you might notice a curious resemblance to London’s own underground. That's because musicians from eight world cities including Paris, Moscow, NY and Montreal - and four from London - will be performing in various São Paulo stations. The idea came about in 2006 when, passing through NY, Marcelo Beraldo was struck by the busking culture on the city’s metro and decided that in Brasil, where this culture of underground music is forbidden, people could should at least get a taste of this type of thing. “I wanted to give my city a present, and show a few of the 3.5m people that commute daily on the tube that there exist talents they could never imagine”, he says. Four years and various journeys later in search of buskers, it’s time for the first International Metro Musicians Festival, the Red Bull Sounderground, already looking set to reverberate around the world. ,& G:9 7JAA HDJC9:G<GDJC9! HÀD E6JAD -I= Ä &'I= CDK! ,6B",EB G:97JAAHDJC9:G<GDJC9#8DB

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SAMBA-PSYCHOBILLY TO KUDURO-BAIANA: A MUSICAL ODYSSEY IN BRASIL My intro to Brasilian music was via Gilles Peterson's radio shows with further explorations leading to manguebeat and TropicĂĄlia. Wondering what was happening in alternative Brasilian music now, I decided to find out first hand. Trawling blogs & myspace and Brasilian psychobilly bands I was convinced I’d find some incredible samba-psychobilly - I didn’t - yet I found the BaianaSystem who mix guitarra Baiana with kuduro. On first listen tecnobrega sounds like bad 90s Euro-pop yet when I heard Gaby Amarantos’s ‘Melody Do Vetron’ it was like hearing Technotronic’s ‘Pump up the Jam’ for the first time. I visited Brasil in late 2009, watching bands and drinking pints of cachaça. The highlights were many: hanging with DJ Dolores in Recife, Mini Box Lunar in Goiana, Cordel de Fogo Encantado in BelĂŠm. Fast forward 9 months and the fruit of my labour is to ‘Oi!’, a 40 track compilation that flits from tropical rock to novo tropicĂĄlia via eletromelody, which Mr Peterson named his compilation of the month. ,& D[ /CKU 7O )TKPIQ

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Graphic art in Latin America has a rich history that stretches all the way from Puerto Rico to Paraguay, from the wood-cut figures of Northeastern Brasil’s cordel literature to the striking slogan posters of Chile’s pro-democracy movement. But the world has changed immeasurably since the days when bandits roamed the plains and these days, thanks mostly to the spread of immigrants and internets, the visual styles of the South have become a

firm fixture in the whole planet’s cultural landscape. Latino Grafico, a beautiful new hardback book from Gestalten, offers a stunning snapshot of what that landscape looks like right now. And it’s certainly not boring. Featuring the work of 58 of the finest Photoshop-fanciers and pencil-jockeys from south of the Rio Grande, Latino Gráfico contains pretty much everything you could ever imagine, and plenty you couldn’t. Jungle loves

the dark psychedelia of Brasilian Herbert Baglione (whose exhibition at London’s Lazarides gallery last year was a real trip) just as much as Chile’s Virginia Echeverria, whose amazing series of ‘analog collages’ might be posters for futuristic neon Hitchcock movies. Plus there’s the DVD, with 30 short films, ads and idents that might just melt your brain. Sound good? Just hit jungledrumsonline.com for a chance to win a copy. ,& D[ 6QO %TQQMUVQP

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6GI 6II6FJ: SÃO PAULO'S PUNKEST GALLERY COMES TO LONDON. AND ABOUT TIME, TOO. You’ve two ways to live the definitive São Paulo experience this month. Step one: partake in a giant traffic jam courtesy of TFL tube strikes; step two, a far more pleasant alternative: grab a Boris Bike and go take in a bit of CULTURESHOCK - a fortnight-long showcase of some of the world’s greatest street art talent via a gallery hook-up between London's East end Pure Evil and São Paulo's notorious Choque Cultural. The collaboration is the long-awaited vision of Pure Evil (Charley Uzzell Edwards) himself and, despite previous (ahem Arts Council) set-backs, the passionate 'grassroots punk' aesthetic of the two galleries makes them natural bed-buddies for exhibiting and promoting urban art forms of this ilk. In fact, Choque's reputation for encouraging artists in Brasil has made it somewhat legendary within the 'outsider art' sphere - garnering international recognition and at times domestic retribution, (including a Pixadore attack in 2008), but Choque are, in their own words, not followers of other galleries’ models: “we are walking our own way to do what we believe in". Coming over for the event as well as Moniker, the UK's first Urban Art fair this month, will be one of the genre's most prolific writers, Titi Freak, whilst the exhibition also brings work by the likes of Speto, Carlos Dias, Daniel Melim, MZK, Nove, Pjota, Presto, and iconic sewer-stylist Zezão. Given both cities' mutual affection for street art it's sure to be a highlight of the social calendar. As Charlie points out, "places like São Paulo and London are stressful and hectic but both use art as a way to counter that, [and after a two-year wait] it's great to finally be able to bring these artists over and make a big deal of it”. ,& D[ 5CUJC 5VGRJGPUQP ') ,WPING&TWOU D8ID7:G '%%.

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V[gdXjWVc^hb Back in '96 a project was conceived marrying the finest of Mali and Cuba's musical elite. For reasons unknown the Malian musicians never arrived, thus an alternative, purely Cuban, album was produced. The result was Buena Vista Social Club and the rest is history. Fast forward to 2010 and the original idea finally came to life. From Africa comes Bassekou Kouyate, awesome guitarist legend and original Rail Band leader Djelimady Tounkara and Toumani Diabaté. From Cuba, original Buena Vista member Eliades Ochoa and his band Grupo Patria – the result, well worth the wait. The fusion of Cuban son and guajira with the Malian griot blues has perfect harmony. From folkloric songs to great instrumentals it is truly beautiful, inspirational, subtle and emotive, the perfect follow-up to the best selling 'world music' album of all time. Go buy it. ,& D[ 4WUU ,QPGU

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music special

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IN THIS EXCLUSIVE INTERVIEW JORGE TALKS FRANKLY ABOUT POLITICS, MUSIC AND THE REVOLUTION THAT’S EXPECTED FROM BRASIL

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“Pretty swanky!” jokes Seu Jorge when I tell him that he’ll feature on month’s JungleDrums cover not once, but twice. Live via Skype, one of his favourite forms of communication, from his home in São Paulo, the City of God actor spoke about his latest tour, which brings him back to London with Almaz, a covers project incorporating members of Nação Zumbi, one of the most important Brasilian bands of the 90s. Jorge made the most of our chat, holding forth in his scattergun style about politics, education and economic growth, firing off round after round of facts and fierce opinions. An avid reader, Jorge called upon authors, statistics, research and, inspired by Brasil’s presidential elections, even proposed a foray into politics. “If I stood, I’m sure I’d win!” he joked, although he might be right. But first, a breather in the USA. Inspired by a recent tour through North America (see our exclusive story on page 38), Jorge says he’s planning a move to LA to give his daughters what he never had: a good education. During a chat that lasted over an hour, Jorge smoked a couple of cigarettes (plus a little something else), took off his shirt, opened the door to let in bandmate Pupillo, spoke about his childhood, and claimed to be ready for his return to the Roundhouse. “I know I’m gonna put the English to shame with this gig. I’ll show Oasis how it’s done!”.

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seu jorge

It’s been a while since you have visited Europe. Does the idea of returning appeal to you? It does, I’m excited to return, I think that the new project with Almaz will really relate to the public in Europe and I hope people understand that this doesn’t represent a change in the sound of my music, but a way of expressing myself differently. But does that confusion worry you, or does it drive you? It worries me and at the same time drives me. It worries me because I saw that in the US now, the public over there see me as being an icon of Brasilian music, but an icon that’s not very typical outside of Brasil. How can I explain this to you? We know that Brasilian music has always been respected throughout the world. But there is a generation, today’s generation, that doesn’t have the same musical reference points; they don’t know about Chico (Buarque), Tom Jobim, Vinícius de Moraes, João Gilberto. This is mainly the case in the US; in Europe it’s a little different because the proximity of the family allows this kind of exchange of information. I’m aware that in France for example, it’s more likely for a son to listen to music with his parents than in the US. It’s because when they reach 17 they leave home, and just return to visit. So I discovered that when the American public in that age group talk about Brasil, they only know Seu Jorge. Does that create pressure? In a certain way, the world truly expects some kind of change to come from Brasil, a musical transformation, something new. This isn’t expected of France or England; nothing new is expected from their music. You don’t expect a musical revolution from Italy, but from Brasil everyone expects one. From Africa, everyone expects one. These are countries that live to express themselves through music. So I think that the opportunity that I have, to (' ,WPING&TWOU D8ID7:G '%&%

demonstrate a Brasilian style sound through Nação Zumbi (one of the most important bands of the 90s in Brasil, that also forms the rest of Almaz), is very important because it’s a moment in the history of Brasilian music that never got told. I believe that Nação was the most important thing to emerge in the last 20 years. It unveiled the state of Pernambuco, which we know Alceu Valença never achieved; I don’t even think Lenine attained that visibility, of shining a spotlight on the region like Nação Zumbi did. But Almaz wasn’t a conscious decision, was it? It wasn’t a case of ‘lets uncover this’ - the project was more a result of friendship, wasn’t it?

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And it was a surprise…It was a bit of fun, really. The three of them (Antonio Pinto, Lúcio and Pupillo) were making the soundtrack to Walter Salles’ last film, Linha de Passe, they asked me to sing one of the songs, and so I made the most of the fact that I wasn’t doing anything that week, and I said man, I can come by at the end of your shift, you guys finish up, I’ll bring a six pack of beers and we’ll just record something. We chose some tunes that we liked and just playing around started recording them. I had a strong desire to do something with these guys. We realised a week later that we had made 18 tracks. From there I called up Mario Caldato (the producer) and I said, let’s record them! It just took a while for the album to come out and for us to go on tour because I had a commitment with America (Jorge’s fourth album) during the same period. Outside of Brasil, your best selling album is The Life Aquatic, which covers David Bowie tracks and makes explicit your relationship with cinema. It seems that your music remains somewhat divided between the Brasilian Seu Jorge and the Seu Jorge portrayed to the rest of the world, do you agree? I don’t know… I don’t think that the album from Almaz can be classified as a type of product for exportation, principally because of its sound and repertoire. As it deals with songs that aren’t originals, sometimes they end up very much taking on their own personality, or there are tracks like “Pai João” which is from Tribo Massahi, a band who nobody has heard of, like “Girl you move me”, and so on. But even in the most well known tracks we managed to add our own very unique, Brasilian element. What is most recognised by the public is my voice, and not the rest. Nobody recognises Lucio on the guitar, Pupilo on the drums and Antonio on bass. Those are the elements that people are going to discover. Do you feel pressure as one of the

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only Brasilian artists who really made it abroad? No, it gives me great flexibility, I’m aware that there are many opportunities abroad to discuss Brasilian issues, to speak, and to converse, to promote this new moment that Brasil is enjoying. What I regret is that Brasil hasn’t managed to organise itself to explore this in more depth. At the same time I feel that Brasil has very little demand for information on what happens outside the country. The world wants to know about Brasil, what possibilities there are there, what could be promoted. For example, companies from America, and the rest of the world, with parent companies in their own country, and their affiliates in Brasil, which in these last two years made absurd financial losses, see Brasil as a strategic country who can recover their losses, on account of the increasing activity of the internal market due to the methods taken by the Central Bank and the Ministry of Finance; tax reduction; credit incentives; and this created a new class, a class C; the new middle class that has completely different standards to the extinct traditional middle class. And do you feel a transformation manifesting itself within Brasilian culture? I don’t see art participating in Brasil’s transformation, no. When it comes to music, theatre, cinema, art and such, I don’t think everybody’s switched on to it. What doesn’t exist, and as far as I know never existed, is art originating from The Federal Government, The Ministry of Culture; Brasil doesn’t have the money for that. So all the art that comes from Brasil, or even all the entertainment - two very strong cultural movements - you don’t get all that in Brasil without violence, without being left behind. In the US it’s different. Take Koby Bryant for example, one of the best players in the NBA, he wouldn’t be who he is today if he hadn’t achieved marks of 10 in chemistry, geography and mathematics, because sport is linked to education in the US. Art too, in a DJIJ7GD '%&% ,WPING&TWOU ((

seu jorge

certain manner. On our trip this time to the US with my daughters for example, they went to a summer camp over there and they were shocked by the fact that all, ALL, of the kids played piano. And they are seven years old. She came back asking: “Dad, everyone plays piano except me!” And that’s because it’s ingrained in the education. In Brasil that doesn’t exist, it’s all private. In Brasil, football belongs to Lubrax, and Parmalat. The theatre has to have sponsorship; it needs support of 15 companies to go ahead, and music does too. But things are changing, the Ministry of Health is proposing that music be taught as part of the curriculum in schools… It’s a proposal, but it has not been very well publicised. Every time that an artistic movement is linked to education, it will be great for where there are no opportunities in our country, but it is rare. If a boy has the opportunity to make music in school, that’s valuable. When I was a boy myself, I wanted to learn to play an instrument, but there was no music in my school. They gave classes in religious education, but there were no music lessons. And it was a private school! Where did you study, Jorge? At the ABEU, the Brasilian Association for University Instruction, in Belford Roxo, a chain of private schools. My mother managed to get four scholarships for us. Do you know how she managed it? She exchanged her vote for the scholarships! There was no other way; skint, illiterate and wanting to send her children to school, the guy offered an exchange for her vote, and she accepted, obviously. Today I can say that it was a good deal, but at the time it wasn’t. For a start we were the only black kids in the school, and we weren’t prepared to study; we didn’t have exercise books, or uniform, we didn’t even have the money to take a photo to put in the scrap book, you know? So it was pretty bad, the other kids used to taunt us and make fun of us. At that time there wasn’t much tolerance for those who were black, there () ,WPING&TWOU D8ID7:G '%&%

was no law that defended us… How old were you? Do you have a good memory of that period? When I started at that school I was 10. I remember it well. It was an important stage in my life, as it was the first time that I fell in love, because when we are kids and we fall in love, we never forget. It was with a girl from class, and it was intense. And there was also the issue of my situation; I was not physically strong, I didn’t have an adequate diet, and I wasn’t managing to keep up with the school, because the teaching was exhausting, and I wasn’t well nourished. And then we lost half of the scholarship, and my mother worked as a cleaner in the school to try to pay, but it

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wasn’t enough, so my brothers and I didn’t study for two years, and I worked as a tire repair man. Now, my daughter is seven, and her childhood consists of her little friends and her school; I try to give her everything I can, as in my youth I was selling chewing gum at the traffic lights. To have lived through that and to know the other side of it - does it give you a desire to get involved in politics, in NGOs, in something that can cause social change? Look, I’m going to say that the situation in Brasil with its absence of opportunity makes me uncomfortable. And so, I would like to specialise in a technical area, in order to contribute with ideas, with proposals, with projects. I am truly concerned with Brasil and I think that political innovation is fundamental. I would like to see young blood, people available, youth interested in Brasil’s profits. Brasil seems to have been on the receiving end of prejudice its entire life, and now for the first time it is ready to receive profit! For many years there has been an expectation in Brasil. So we can expect Seu Jorge to be more active in that area? I’m a little bit older, I’ve got thicker skin, I’m going to create a stir. What I can’t tolerate, man, is the candidature of Tiririca (the clown who won the most votes in Brasil as federal deputy), of Romário (an ex-footballer), of Mulher Melancia (a pin-up), do you know what I mean? That’s just absurd. It gives me the desire to go up there and say, ‘I’m going to give it a go!’, it stands to reason! And if I were a candidate, I would win! But in all seriousness… I don’t want to have my vote vetoed. I want my vote to count. It doesn’t help matters for me to arrive and to have the voters paying my salary, me causing problems with everyone and living in a rotten environment that I never saw before. But I still have the desire to pester, to cause a fuss, to stir up the crowd and all that. But can I say that if one day I should become

seu jorge

involved in that, I would lose my ingenuity. I can be romantic about the history of Brasil. As a musician, I have a romantic idea of Brasil to preserve. As a politician, I don’t know if I would keep that. I don’t know if I would manage to preserve ideology. In the case of Gilberto Gil it was different; he already had experience as a politician. This phase of Brasil is also reflected in the musical circuit, everyone is touring in Brasil! Now, Brasil is essential territory. The world is capitalising here, my dear. I would say that the private and the principal investment of this new phase is due to the consumption of the internal market. The music consumer isn’t simply a consumer of hats, shirts, DVDs and CDs, he goes for the toilet paper, the tampons, the nail varnish, the shampoo, he consumes everything. And everyone is aware of this, everyone wants a piece of Brasil. Be it Jay-Z, be it Beyonce, be it Lady Gaga or be it Seu Jorge, it doesn’t matter, be it Ivete Sangalo, it doesn’t matter who. And Brasil is the foundation for this, the money runs freely. There is a mobilisation, and people are in need of this, they are in need of music, in need of a hero, right? A hero. We have this sense of; “Damn I want to see Lady Gaga, that hot woman, that woman that bleeds, she rips up everything; I want to see that”. But not the ‘gringo’; today there is a Lady Gaga concert and they say: ‘ah, I’m not going, I’m going to buy a bottle of juice and I’m going to read my book, and it’s all good.’ They will read the book, keeping to themselves on a Friday; the gringo doesn’t have that carnal need, that chemical dependence on going out on a Friday or Saturday because you earn so little in this damn country, you’re not able to have anything, you’re not able to buy anything, you don’t have access to consuming, and so what’s left is entertainment; distracting yourself, having a beer, having a flirt, and music is the principal investment of this manifestation. And you are really going to leave all this to go and live in Los Angeles? That’s right, the whole family. We want to stay there a while… It’s more because of the children really, the boys love the weather there now, and the education is really something else.

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And if I don’t do this now when the oldest is seven, when will I? 10 years from now when she is 17? Then they aren’t going to want to go. I have the opportunity now, the opportunity to work, a lot of people contacting me too; those two weeks that I spent there I worked a lot, I made two video clips, I recorded with Beck, I’m doing a new album with Mario Caldato Jr. And cinema, how’s that going? Man, making Elite Squad 2 was incredible! We filmed it during the four days of carnival; the best four days of carnival of my life! No mess, we spent the entire time on the set four days straight. I made a comedy with Selton Mello, Rodrigo Santaro and Otavio Miller called Reis e Ratos (Kings and Rats), under the

direction of Mauro Lima who made Meu nome não é Johnny. It’s a comedy in black and white, a period comedy, and it’s damn funny. I’m involved in a project with Vicent Cassel as well, things are happening. Tell us how it was to play with Ivete Sangalo at Madison Square Garden? It was amazing, almost 16 thousand people at the world’s temple of basketball and rock. To see Ivete Sangalo get 16 thousand people inside there, and to have the bleachers literally trembling, so much so that I could feel it from the dressing room, it was incredible. Ivete has serviced Brasilian music in a way that I think no one had managed to do until now, because it’s the music of the people, music for the masses. And she had a great attitude during the production. She recorded the DVD with an all American technical team, of very high standard. She was at an all time high in terms of happiness. That week 2,500 people travelled from Brasil to see her show. The American press

asked themselves: Who is this girl? Is Brasil behind this? To have so many people come here just to see the show, with a ticket, money in their pockets, a hotel to stay in, everything organised, visa prearranged… It’s a shock, the demonstration of independence. It was a very important part of the process. It is interesting to think that this could be rather symbolic of the new phase of Brasil, do you agree Jorge? Completely! The contract that she made with TAM (the airline company that sponsored the event) rightly made it so that the expatriates that lived in Houston, in the middle of nowhere, in Austin, in San Francisco, could travel with Star Alliance for a good price, and so the event was a sell out. It moved the economy along… Exactly, that’s what we are talking about, this is Brasil’s big moment, and how the people of Brasil respond to the call. It’s the proof that it’s the music of the people that’s boss, you know? I think that if it was in China, nobody would go to see that chick there. In a certain way, Almaz doesn’t seem aimed at the Brasilian people; it’s certainly something very different; a conceptual project as such, and I see that you have the desire for this business with the people and representing them. Do you think that your next project will be more focused on this? You have to listen to “Doida”, it’s already ready. Doida? Ah I’m going to send it to you, hang on! Jorge sends an MP3 over Skype, and after hardly more than a minute of listening, it’s obvious that the Jorge from ‘Carolina’ is all over it. I knew that you had something up your sleeve. You’ll see, you are going to enjoy it; this is the popular side of my music. I can’t deny that, man! This is what I am; I’m a black guy, from the suburbs, from the slums of Rio de Janeiro. How can I deny that? I can’t. ,& To read the interview in Portuguese visit jungledrumsonline.com

on tour

LONGSTANDING FRIEND OF JUNGLE FERNANDO TUBARÃO JOINED SEU JORGE AND ALMAZ ON THEIR US TOUR

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The dream of nearly every tourist is for one day to travel across North America from one end to the other. When a group of friends get together for a road trip, it can turn out to be a journey of self-discovery as well as reinforcing the bond of friendship. Or it can be a catastrophe. Living in each other’s pockets day after day can ruin a friendship and cause prevailing strife. In the case of Seu Jorge and Almaz, who have travelled inside a bus with 11 people thousands of kilometres from Miami to Vancouver in just one month, it was all about the good times. “It was an incredible journey” retells Jorge. “living together was great for us. If I’d been given money for every time I smiled on that bus, I’d be rich!” “Jorge was a partner and a warrior” says Tubarão, who has worked with Jorge for more than 6 years. “He gets involved in everything, he was always with the crew, no airs or graces, sleeping in tight spots, playing video games, eating fast food, joking, laughing, all together.” The bus was shared by 11 men and only had one rule: “Number 2’s prohibited!” Tubarão accompanied every stage of the tour, including the rehearsals in Brasil, and with his iPhone camera, he recorded incredible behind-the-scenes moments and the intimacy of the group that brought Almaz across America. ,&

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music special

REHEARSALS IN BRASIL Before the trip, we spent days in Naceba Studios in São Paulo. This photo is the last open rehearsal that was just like a show. Before this, the rehearsals were all held in a tiny studio in Jorge’s house in Pacembu. (Photo: left to right, Lúcio Maia, Gustavo da Lua, Seu Jorge, Pupillo and Antônio Pinto)

ARRIVING IN MIAMI Jorge and Almaz travelled in business class, the rest of us were in economy class. We arrived in Miami two days before the first show with all the equipment and on the next day we went shopping. We wanted HD cameras to document each step of the tour. The days off were great for us to get to know each other better.

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on tour

THE BUS “We were 11 people living together every day. The beds were tiny, triple bunk beds that reminded me of the ones in the hotel rooms of Japan. Each bed had its own television, a small wardrobe and a curtain. The bathroom even had a shower but we decided to only take showers in the hotels or in the venues to keep things together. One day Jorge thought someone had gone for a dump (which was prohibited). He found a bit of dirty paper, and he started playing the detective as if he had to find out who it was, making us all laugh!’

LIVING TOGETHER “It was a good thing no-one snored, but there was a bit of a bad smell going on! The stage technician who travelled with us, Josué, a bit of a chubby guy, got some attention when he took his shoes off! But everyone messed around, no stress. All the stress was battled out playing video games. It started with FIFA (Jorge is addicted) then we went on to UFC where each one of us created our avatar and ended up fighting. The biggest rivalry was between Jorge and Puppilo. We spent hours playing.”

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music special

MUSIC ON THE ROAD “We heard a lot from Pupilo’s and Lucio’s IPods. There was this amazing album “The World Ends: Afro Rock & Psychedelia In 1970s Nigeria” that we played non-stop. Jorge played a lot of old funk as well. Interestingly, we listened to plenty of Almaz. We would hear the audio of the previous gig on the bus and see where it could get better. It was on the road that they began to created special versions of Jorge’s hits like “Carolina”, which debuted in the show before LA.”

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HOT-DOG AND FOOD “In San Fransisco we changed buses (the first had a problem with the air con). Jorge arrived very hungry. We’d all left him in the hotel while we went to buy a computer in the Apple store, and when we got back we found him eating this hot-dog. He hadn’t stopped talking about LA hot-dogs from the street for the whole journey, how good they were and all, but when we got there, he just went straight for it without waiting for the rest of us! All the leftovers from the dressing room came with us on the bus. Water, sandwiches, snacks, nuts... Francisco the tour manager, half American, half Mexican knew all the places in the cities and when we craved rice and beans we would stop in a Brasilian restaurant for Rodizio.”

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on tour

GIGS AND RADIO SHOWS “Everyone recognised Jorge in the street, it was amazing, as many Brasilians as foreigners. They stopped him in the street and asked for autographs. In various cities we stopped to do interviews and Almaz would play live. We played in some of the best venues of North America and most of the gigs were sold out, a totally incredible vibe. In this photo we are in the NPR radio station reception in Washington with Pierre Chene (Almaz’s manager) and Pupillo where we recorded a programme playing in the middle of the offices of the radio station. It went really well. A brilliant way to start the day!”

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AMOEBA “We spent hours in this record shop in Los Angeles. On this day we met Questlove, the drummer from The Roots, who said that every morning he listens to Jorge’s version of Life on Mars to get the day off to a good start. The cool thing was that Eothen Alapatt from Stones Throw Records (that launched Almaz’s album in the US) gave $75 credit for the shop to each of Almaz’s crew, but he used most of it! Lucio and Pupilo brought back at least 40 records each. Jorge got some too. It even got complicated on our return as the airport police searched all our bags before travelling and made everyone open their cases!”

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Top 10: Mondomix

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music special

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music battle

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Brasilian music comes in waves. All it takes is the launch of two or three rock and pop. The English speaking ‘gringo’ releases at more or less the same time - either by an influential cultural centre doesn’t feel so at ease dancing to samba. planning an event, or a festival dedicated to Brasilian art - and the Guardian or 3. Sophistication. That’s right. Ask jazz Time Out will claim Brasil is the “latest sensation” or the “flavour of summer”. In musicians. Rock bands play the Beatles and the the 90’s when I lived in Cologne, working in a record shop, I used to get tired of the Stones easily, but see if they can get to grips praise for MPB (Brasilian pop music) in Prinz, Germany’s Time Out. Releases from with songs by Tom Jobim, Milton Nascimento, Marisa Monte and Caetano Veloso used to sell 20,000 copies each in Germany, the Gilberto Gil or even Caetano Veloso. The fourth biggest music market in the world. I remember that Polygram and EMI had harmonies, the guitar positions; it’s all labels (Motor Music and Blue Note) exploring the catalogues of their Brasilian extremely complicated. subsidiaries in order to release compilations dedicated to the ‘dancefloor jazz’ or It’s not a coincidence that the Brasilian bands ‘acid jazz’ scene. This scene was big in Great Britain, Germany and Japan, where that managed to infiltrate the international musicians such as Tamba Trio and show circuit in the last two decades were Quarteto Novo were idolised, and Sepultura and CSS; two rock bands that sing in where artists such as Joyce and English and have little or nothing to do with Marcos Valle re-launched their MPB. Bossa Nova, strongly influenced by international careers. The scene no American jazz, was discovered by American longer exists as such, but it did help musicians (Charlie Byrd, Stan Getz and Herbie to awaken a great thirst for what Mann), who brought it to the United States. was produced during the golden American songwriters such as Gene Lees, Ray years of MPB, which in my opinion Gilbert and Norman Gimbel lined their pockets died out at the end of the 70’s. In by translating gems by Vinícius de Moraes, London during the 00’s, I noticed Newton Mendonça , Ronaldo Bôscoli, Paulo that little had changed. The reality Sérgio Valle and many others into English. Not is that within the international to mention that Bossa Nova, a product of the market, Brasilian music is a marginal golden years of MPB, had a ‘fresh’ and ‘different’ asset, difficult for the majority of the appeal to it; a quality starkly absent in public to embrace. today’s Brasilian music. But why is that? I can point to three reasons; 1. The language. The ‘fresh’ and the ‘different’ have the power to attract the Many love the sound of the Portuguese language, and, for them, the attention of the majority of consumers in Britain, Europe or fact that what is being sung remains a complete mystery doesn’t America and I would keep an eye on the subculture emerging make the slightest difference. Many, however, prefer to understand from the club scenes in São Paulo and Rio de Janeiro, in electronic what they hear. It is impossible to compete with English. 2. The music and funk carioca. But one thing is for sure: the extrovert rhythm. Almost all of MPB derives from samba, with a distinct, quality and ‘upbeat’ feel of our music culture (axé e pagode) is broken tempo of 2/4, quite unlike the straightforward 4/4 beat of too frenzied for the Anglo-Saxons. ,&

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music special issue

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“I don’t like Brasilian musicâ€?. Now and then you do come across the occasional person (or music critic) who utters the words. It’s tough to respond, as all that statement really does is speak volumes about how much Brasilian music they have yet to hear. What’s implied is that all Brasilian music sounds the same, with maybe the faint echo of a bossa tune spinning in their minds. It’s true, it’s not all that easy in the UK to keep up with what’s happening with new Brasilian music. Only the tiniest tip of the iceberg ever gets released here and there are still precious few chances to see a live show by anyone who wasn’t a star in the 60s. But surely we’ve had enough exposure to new Brasilian sounds to click that the sixth most populous nation in the world is a universe of sonic diversity. When DJs Patife and Marky tore up the UK drum ‘n’ bass scene in the 90s they beamed a spotlight on the super-urban intensity of SĂŁo Paulo-the-megacity. Then Baile Funk blasted any notion that Rio is all about sun-kissed melody, just as the current South African house boom is cranking open eyes on what Johannesburg’s soundtrack is really like. Likewise when CSS revved up a spectacular indie media love-fest, there was the sense that something had shifted. Maybe the next big thing in electro-pop wasn’t going to be from the northern hemisphere‌ It took the movies for Seu Jorge to break through and become a name even casual listeners have heard of. Singing his beloved samba like

tropical blues, Seu Jorge celebrates his Rio de Janeiro roots. His acclaimed David Bowie versions, in Portuguese, flipped expectations. Ah yes, Brasilian music also sounds like, well, ‘changes’. And it sounds like ‘Pavement meets Fela Kuti’, as Holger are described, a band on the up who were a hit at Austin music convention SXSW and are currently gigging in New York, playing indie rock with a touch of axĂŠ. That’s Brasilian. You want art-house brega? Check out CidadĂŁo Instigado’s psych bubblegum pop. Calypso-marchinha? Have fun with Mini Box Lunar. Surfguitarrada? La PupuĂąa. There just isn’t a genre which exists or is possible to invent that won’t happen in Brasil, where the level of musical activity is simply staggering. Brasilian artists are pulling on a mindblowingly vast hinterland of traditions, environments and influences. It was once a fractured landscape - artists operated in local circles often in isolation from whatever was happening in distant cities and even neighbouring states. With the digital age things have shifted and the 20-somethings making music now must be some of the most web-savvy artists anywhere. There’s a palpable sense of assurance – connecting across borders and genres seems to have galvanised individual creativity rather than having a homogenising effect. What gets picked up by press and public in the UK may be relatively limited, and there are shocking omissions (will Nação Zumbi ever get to play Glastonbury?!) but the way people listen to music from Brasil has changed. We’re yet to see an Amazonian techno-brega rave kick off here, but it’s coming, you can be sure of that. ,&

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The UK’s most frequent flyer to 69 flights weekly to 9 destinations With more destinations, flights and superior baggage allowances, TAP Portugal is your first choice airline to Brazil. We have very attractive Business and Economy Class fares to all destinations. Our through check-in at Heathrow and Gatwick takes care of baggage and seat selection for your entire journey - allowing you to enjoy our seamless award winning service.

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Executive class Choice of 3 entrées 180º Seat recline Video on demand Laptop powerpoint

Economy class Choice of entrées Video and audio Extendable footrests 2 x 23kg baggage allowance

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RIO HAS THE MOST FAMOUS CARNIVAL, BUT SÃO PAULO AND SALVADOR ALSO CHIP IN FOR THE PARTY The further I walk the more the streets of Salvador became a frenzy. The boom of batucada and the pounding beat of axé music power a flowing river of hundreds, thousands of dancing people. Most are African-Brasilian, most of them young, most of them with enviably perfect bodies. Men and women alike are dressed in tight, tiny clothes of every hue but plain. The air around is thick with the smell of sweat and electric with energy. Every face is a smile. The vast crowd flows past steps leading up to crumbling colonial churches, past the stands of fat moustached policemen, past the frantic vendors selling ground sugar cane juice and bottled water at breakneck speed and down the steeply cobbled streets towards Carnaval itself. I can barely move – a human drop in the stream; jostled on by the happy throng who press at my back and raise their arms in the air screaming at full pitch, yet still drowned by the power of the drums. Soon I am lost again in the spectacle - I can now finally see where the drumming is coming from – Olodum, the Afro Bloco troupe made internationally famous by Paul Simon, suddenly appear in front of me

dressed in costume and cutting through the revellers like the prow of brilliantly coloured boat. A huge surdo bass drum beats out a deep Boombum boombum boom from the rear, and cracking and whipping over the top is a lattice of heavily syncopated repique snares played with light twigs and in perfect unison. I am a solitary English red and white in the multi-hued Africa of Brasil, yet I never feel a stranger. I am part of the carnival multitude. I am welcome in the world’s most welcoming country. Dripping with sweat and urged on by a couple next to me with permanent half-moon smiles stretched across their faces I too started leaping to the rhythm, yelping, cheering and waving my hands.

A brief history |

Carnival (or Carnaval, as Brasilians call it) is not unique to Brasil. There are carnivals all over the Catholic world – from the Philippines to Port of Spain, and Trinidad and Tobago to Trivandrum. But nowhere does it bigger or better than Brasil. Worldwide, carnival traditionally takes place on Shrove Tuesday (but often begins the weekend preceding it).

This is the last day before the beginning of the feast of Lent - a time of privation and penance that remembers Christ’s 40 day sojourn in the desert and his Crucifixion. Brasilian Carnaval mixes the Portuguese Catholic celebration with a remembrance of Africa – through an adaptation of traditional African rhythm and ritual. In Rio and São Paulo the rhythm is samba – a fusion of Angolan drum patterns and European polka. In Salvador it is afoxé - pounded out by giant AfricanBrasilian drum troupes – or axé, its more commercialised, gaudy counterpart. In Pernambuco, Brasil’s other huge carnival state, the rhythms are maracatu and frevo, both of which are jointly the most visceral and infectiously danceable of all. The costumed carnival troupes, or blocos, that march to these rhythms either in the streets or designated arenas are derived from traditional parades conducted by African tribal nations in the Portuguese colonial era. The parades were an effort to preserve various cultural identities in the face of the forced homogenisation of slavery. ,&

G>D I:B D 86GC6K6A B6>H ;6BDHD! B6H HÀD E6JAD : H6AK69DG I6B7wB H67:B 96G JB6 ;:HI6 : I6CID As ruas de Salvador tornam-se mais agitadas a cada passo que dou. O barulho da batucada e a batida forte do Axé Music inundam um rio de centenas, milhares de foliões. A maioria é afro-brasileira, jovem, com corpos invejáveis. Homens e mulheres vestidos com roupas curtas e justas de todas as cores. O ar pesado com o cheiro de suor, e elétrico de energia. Em cada rosto, um sorriso. A multidão flui pelas escadarias, passando por igrejas coloniais dilapidadas, pelos postos de policiais gordos de bigode, pelos vendedores ambulantes frenéticos, servindo garrafas de água e caldo-de-cana, e desce o morro íngreme de paralelepípedos, até chegar ao carnaval propriamente dito. Eu mal consigo me mover – sou uma gota d’água humana na enchente; empurrado pela muvuca feliz que me espreme as costas e levanta as mãos, berrando alto, mas com a voz ainda dominada pelo poder dos tambores. Logo me perco novamente no espetáculo – finalmente consigo ver de onde está vindo o som da bateria – Olodum, o bloco que se tornou famoso internacionalmente devido a uma colaboração com Paul Simon, aparece de repente na minha frente, todos fantasiados, e cortando a aglomeração de foliões como a proa de um barco multicolorido. O surdo bate um bum-bum-bum grave, e por cima uma chicotada de pandeiros e taróis tocados com gravetos em união perfeita. Eu sou um Inglês vermelho e branco, sozinho na multicolorida África Brasileira, mas jamais me sinto um estranho. Eu sou parte da diversidade do carnaval. Eu me sinto bem-vindo no país mais hospitaleiro do mundo. Um casal

sorridente me convence a dançar, molhado de suor, e eu também começo a pular no ritmo, gritando, vibrando e balançando as mãos...

Breve histórico | O Carnaval não é exclusivo do Brasil. Há festas similares em outros países católicos (das Filipinas ao Haiti e a República Dominicana. Mas em nenhum lugar a festa é maior ou melhor que no maior país da América Latina. Ao redor do mundo, o Carnaval tradicionalmente ocorre na Terça-Feira Gorda, o último dia antes do início do período da Quaresma, um tempo de privação e penitência numa alusão aos 40 dias que Jesus Cristo passou no deserto antes de ser crucificado. No Brasil, mistura-se a celebração católica portuguesa com as lembranças da África por meio de uma adaptação dos rituais e ritmos do continente. No Rio e em São Paulo as celebrações são ao ritmo do samba, a fusão dos padrões de ritmo angolano e a polka européia. Em Salvador, porém, é o afoxé - ou axé, como é comercialmente conhecido -, com sua batida das gigantescas tropas de tambores. Pernambuco, o outro grande ponto carnavalesco do Brasil, os ritmos são o maractu e o frevo, ambos os mais viscerais e dançáveis. As fantasias e desfiles, tanto nas ruas como em arenas, são originadas das tradicionias paradas realizadas por comunidades africanas durante a Era Colonial portuguesa. Eram parte de um esforço de preservação das várias identidades culturais em tempos da homogeinização forçada promovida pela escravidão. (Continuação apenas em inglês) ,& DJIJ7GD '%&% ,WPING&TWOU *(

carnival routes CARNIVAL IN FOCUS

HÀD E6JAD With their towering floats glittering with sequins and garlands, their troupes of costumed dancers, samba drummers in the thousands and scantily clad carnival queens and transvestites, São Paulo’s samba parades or desfiles offer a lavish and impressive party piece which is rapidly beginning to rival Rio de Janeiro as the most spectacular performance carnival in the world. Carnaval in São Paulo is a competition, between carnival schools (Escolas) – drawn from all over the vast city. They work for a year, employing some 25,000 people to produce giant floats, thousands of costumes and uniquely choreographed set pieces led by a string of key carnival characters. These include the lavishly dressed Rainha da Bateria – an (often surgically enhanced) woman who leads the dancers, and who is often a famous Brasilian celebrity. The top samba schools in São Paulo include Nenê de Vila Matilde, Vai Vai, based in the African Brasilian neighbourhood of Bixiga and last year’s winner, Rosas de Ouro. What many visitors don’t realise is that these parades take place in a designated arena called the Sambódromo, making carnival in São Paulo more a spectacle than participation. You will need a ticket to get in, and it’s important to book in advance. The best option is to buy from a tour operator in the UK – like Songlines Music Travel. If you wait until you get to São Paulo you can’t be sure of a place in the Sambódromo on the all important nights. Tickets are either for seats (cadeira) or free standing on the terraces (arquibancos). The seats are closest to the parade but confine you to one place. So if you are reasonably young and fit, opt for the terraces – you can dance and jostle for a variety of views and it’s far more fun to be mingling with the hordes than sedate and sedentary. The best days for the parades – when the famous samba schools perform, are the Sunday and the Monday of Carnival weekend. Arrive at about 7pm to be in time for the first procession and expect to leave at about 6am the next day. 8VgcVkVa \Zih l^aY ^c H d EVjad h XdcXgZiZ _jc\aZ

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H6AK69DG Brasil’s largest and most raucous carnival takes place in the colonial city of Salvador in the state of Bahia 1600 km north of Rio de Janeiro. Unlike its noisy southern neighbour, this is a true street festival. And until the 1990s it was dominated by the powerful percussive street parades of the blocos afro - troupes of some 200 drummers accompanied by singers atop mobile sound trucks. The overall effect is astonishingly visceral. The most famous of the blocos afro - Ilê Aiyê, whose members are all exclusively black and Bahian, take to the streets outside their headquarters at Ladeira do Curuzu on carnival Saturday night. And Filhos de Gandhi - the original bloco afro founded in 1949 - parade on the Sunday and Tuesday. The sight and sound of their 6000 members dancing through the streets - an ocean of multi-coloured carnival revellers is one of the highlights of Salvador’s carnival. The blocos afro play alongside singers belting out high octane Bahian power pop or axé – performed at ear-drum splitting volume by scantily dressed, dynamically dancing divas, the most famous of whom are Ivete Sangalo and Claudia Leitte. They and their backing bands wiggle on the roofs of vast trucks or trio electricos, which plough a furrow through the multitudes, dragging a cordoned-off few in their wake, protected by ropes and security personnel and dressed in expensive trio electrico T-shirts. The best night for the trio electricos is Shrove Tuesday itself, when the trucks meet in Praça Castro Alves for the Encontro dos Trios, playing in rotation until dawn. The event can be watched from the street or the vast grandstands erected on scaffold. And it is not uncommon for major stars from the Brasilian and international music scenes (including Bono, not so long ago) to show up. The other major centre for Salvador is the beach suburb of Barra, frequented by blocos alternativos like Timbalada, a drumming group formed by renowned percussionist Carlinhos Brown. It’s possible to pay to join most of the parades and buy tickets for the grandstands – either through a UK tour operator or the blocos themselves. For more information see the official Carnaval site on the opposite page.

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RICO'S CHURRASCO CHAIN IS A BRASILIAN FESTIVAL OF FLESH An age old tradition in Brasil’s churrascarias, only recently has the rodízio become popular abroad. And even then it’s only a style found in Brasilian restaurants, as is the case with Rodízio Rico in London. For those of you who aren’t familiar with the system, a rodízio de churrasco is the ultimate gastronomic experiences for the true carnivore: the waiters come to your table with pieces of meat on skewers and you eat as much as you please – or can manage! In Brasil, it’s common for the ritual to continue for hours, especially on the weekend. The star of the show is the picanha (cap of rump steak), a soft slice of bovine meat with a layer of fat. However, other parts of the body, such as alcatra (rump) and fraldinha (flank) also have their fans, beyond chicken wings and hearts (usually the children's favourites), pork ribs, and others. And of course this is accompanied with rice, black beans, farofa (cassava flour), chips and salads, which aside from complimenting the meat make rodízios an option for vegetarians too – obviously those who can control themselves amid the festival of flesh on show! ,& KEY:

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the_rythm_cafe_1_4.pdf

1

12/10/2008

The Cafe

22:25

Dru & Per mming World cussion Sh op Music Work & Dance shop s

SAMBA Percussion Sundays 7pm to 9pm All instruments provided. Cost: £10 / £8 Students

Join us in the music of Carnival! For more workshop information visit www.therhythmcafe.com DIRECTIONS: Walk out of Chalk Farm Tube towards Camden Market, After Morrisons Petrol Station, Turn right, then left into Stables Market Entrance (Opposite Petrol Station), Straight away turn right, follow passage to left and we are 3rd arch on Right hand side. +(

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LWPING IWKFG EVERY THURSDAY 6pm - 11pm

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KPDQZ + ,WPING WPING Hello Camila, Thanks for the compliments! It's always nice to see we're still gathering new readers.

Don't hesitate to send us your raves and rants! JungleDrums p.o. box 49713 london wc1x 8ww inbox@jungledrums.org ALL THE NATIVE SPIRITS Olá Jungle, Obrigada. Thanks. [for the 4th Native Spirit Film Festival feature]. You guys are wonderful. All indigenous communities thank you for this. I hope God will bless JungleDrums and its team with success more and more each day. A big hug, Cleo, via email Oi Cleo, We’re glad you – and all the indigenous population – appreciated the story, we’re always happy to bring up issues that can raise awareness. JD NICELY SURPRISED Hey JD, My name is Camila Louise. I'm a Journalist graduated by Universidade de Brasília (UnB) and I'm in London improving my English. I found an issue of JungleDrums in a Brasilian restaurant, it was a very nice surprise - a bilingual publication with such an interesting graphic project, a somewhat alternative editorial line, and short and easy-to-read articles. Camila Louise, via email

MISSING THE UNAPPRECIATED Hi, I was just checking about the director Edilberto Restino, that won several film festivals. But as I was talking with a Brasilian friend, he never heard about him. Is that the Europe and USA gives more credit for your guys then your media? I would like his number if you have it. Thanks, A. River, via email Hi there, Unfortunately you are right. The Brasilian media and the audience should give more attention to our real masters. Many things in Brasil are only recognised after finding some success abroad. The JungleDrums team works against that, trying to make a difference. Hope you are enjoying the magazine, and please feel free to send us as many suggestions such this one, about Restino, as you want. JD THANKFUL FORROZEIRO Dear Jungle, Thank you so much for introducing me to the exciting forró nightlife in london. I'm a salsa dancer and I'm still learning the tricky steps of the rhythm. Your article was amazing and the Bicho de Pé concert was an incredible experience. Bring more bands like this to London! Ben Fairley, via email Dear Ben, We're very happy you enjoyed the concert and discovered something new through Jungle. Make sure you keep checking our Agenda and website, jungledrumsonline.com to find new bands and more concerts. JD

B::I I=: G:69:G

?DH:E= HJIIDC A SOLICITOR FROM LONDON THAT HAS BEEN FOLLOWING JUNGLE FOR FIVE YEARS

What do you do for a living? I have my own legal practice in the City specialising in employment law (josephsuttonsolicitors.com). How did you find out about Jungle? I picked up my first copy of Jungle in Guanabara in about 2005 and haven’t looked back! What's your favourite part of the magazine and why? Apart from the What’s On section (always right on the pulse of Brasilian culture in London), the interview is often engaging. I was particularly interested to read about Oscar GuardiolaRivera’s vision for Brasil’s world domination! Do you have a connection to Brasil?

I have many good friends in Brasil and am passionate about its culture, music and people. I’ve visited Brasil several times since 2002 and always have “saudades” when I haven’t been back for a while, which I guess means I have a pretty strong connection! What is your favourite place in Brasil? Salvador da Bahia. I visited Salvador for the first time in 2006 and was overwhelmed by its visceral and spiritual power. It also got me hooked on açai, batucada and the beauty of capoeira. My first Portuguese teacher also happened to be bahiana. Favourite Brasilian food/ drink/product? Food: feijoada; drink: caipirinha; product: samba. ,&

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