JungleDrums issue 85 - October 2010

Page 1

QEVQDGT

LWPINGFTWOUQPNKPG EQO

<H;; 9: L>I= C:L

7G6H>A>6C BJH>8

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

<H;; 9: L>I = C:L

7G6H>A>6C BJH>8

?jc\aZ9gjbh ]Vh _d^cZY [dgXZh l^i] 7B 6 id Wg^c\ ndj V hZaZXi^dc d[ i]Z [gZh]Zhi bjh^X WZ" ^c\ bVYZ VXgdhh 7gVh^a g^\]i cdl# ;gdb i]Z cZl hdjcY d[ i]Z H d EVjad higZZih! 6cYgZ^V 9^Vh! id i]Z aVbWVYV"i^c\ZY iZXcdWgZ\V d[ EVgVÉh ;Za^eZ 8dgYZ^gd VcY BVlVXVÉh he^g^ijVa hdjcYh ^che^gZY Wn i]Z 6bVodc! 7gVo^a CZl HZg^Zh ^h a^hiZc^c\! adk^c\ VcY h]Vg^c\ l^i] [g^ZcYh#

DOWNLOAD >[ ndj lZgZcÉi ajX`n Zcdj\] id \Zi ndjg ]VcYh d[ i]Z 89 l^i] i]^h Xden d[ ?jc\aZ9gjbh Vaa hjW" hXg^WZgh VcY gZVYZgh Vi LdbZm \di dcZ _jhi ad\ dcid ?JC<A:9GJBHDCA>C:#8DB id Ydlc" adVY ndjg BE( Xden! Ò cY bdgZ ^c[dgbVi^dc VWdji Vaa i]Z Vgi^hih VcY X]ZX` i]Z ldg` 7B 6 YdZh id egdbdiZ 7gVo^aÉh bjh^X ^c [dgZ^\c aVcYh#

WHAT’S ON YOUR FREE CD

6cYgZ^V 9^Vh

&

CD>I:

7dgc ^c i]Z djih`^gih d[ H d EVjad! 6cYgZ^V YZWjiZY ]Zg hdad XVgZZg ^c '%%- l^i] i]Z Xg^i^XVaan VXXaV^bZY Kda# &! i]Z Ò ghi d[ V ig^ad\n# H]Z ^h ^cYZZY V kZghVi^aZ bjh^X^Vc# Kda# ' lVh gZaZVhZY ^c '%&% VcY! Vh dc ]Zg Ò ghi VaWjb! h]Z lg^iZh Vaa hdc\h# 7Z^c\ V Xdbejah^kZ hdc\lg^iZg! 6c" YgZ^VÉh ang^Xh YZVa l^i] XgVon adkZ hidg^Zh! hdX^Va VcY WZ]Vk^dg Xg^i^" X^hb VcY! VWdkZ Vaa! hVgXVhb#

8]^Xd E^c]Z^gd

'

6D K:CID

E^c]Z^gd hiVgiZY eaVn^c\ i]Z \j^iVg VcY i]Z e^Vcd l]Zc ]Z lVh ,# =^h lZaa"gZXZ^kZY YZWji ^cXajYZY eZg" [dgbVcXZh [gdb \jZhi AjX^VcV 6a" kZh! AZc^cZ! :Y BdiiV! 8]^Xd 8 hVg! VcY BVg^V G^iV# =^h hZXdcY gZaZVhZ! Æ8]^Xd E^c]Z^gdÇ Zc_dnZY ZfjVa Xg^i" ^XVa VcY VjY^ZcXZ VXXaV^b# I]Z i]^gY VaWjb! CdkV! ^h V XdaaVWdgVi^dc l^i] i]Z Cdgi] 6bZg^XVc \j^iVg^hi VcY XdbedhZg 6ci]dcn L^ahdc#

6gcVaYd 6cijcZh

(

6 86H6 w HJ6

:meZg^bZciVa h^c\Zg"hdc\lg^iZg [gdb H d EVjad! 6gcVaYd ]Vh [djcY hjXXZhh ^c WVcY"egd_ZXih hjX] Vh I^iVh VcY Ig^WVa^hiVh Vh lZaa Vh kVg^djh hdad egd_ZXih# =^h aViZhi VaWjb! > > > ! add`h WVX` id i]Z h^mi^Zh " hjg[ bjh^X! ?dkZb <jVgYV! i]Z 7ZViaZh! i]Z il^hi! G^iV EVkdcZ½ D[ XdjghZ! 6gcVaYd ]Vh WZZc XdaVWdgVi^c\ l^i] ?jc\aZ [dg nZVgh# 8]ZX` eV\Z ,)#

8g^da^cV

)

HÀD AJ>H"=6K6C6

6aZ Bjc^o VcY AjX^VcV H^b Zh [dgb Yjd 8g^da^cV# I]Z^g 'cY 89! 8^cZ Igde^XVa ]Vh &) igVX`h WVhZY dc gZVa ZkZcih# Æ6cn gZhZbWaVcXZ ^h cdi V bZgZ Xd^cX^YZcXZ!Ç hVnh 6aZ# I]Z hdc\h VgZ WVhZY dc bZbdg^Zh i]Vi ]VkZ bVg`ZY i]Z ]^hidgn d[ Wdi] H^b Zh# I]Zn VgZ k^hjVa VcY VjY^d gZ[ZgZcXZh id Ò abh hjX] Vh 7VgWVgZaaV! 7nZ 7nZ 7gVh^a! :cc^d Bdgg^XdcZ VcY ?dkZb <jVgYV#

HVcY{a^V 9Z EgViV

*

D E:H869DG

I]Zn b^m igVY^i^dcVa hVbWV Ä jh" ^c\ Ygjbh! gZe^c^fjZh VcY WZVih Ä l^i] bdYZgc VcY hde]^hi^XViZY VggVc\ZbZcih! XgZVi^c\ V hdjcY WZ" ^c\ XVaaZY HVbWV EZhVYd Ä =ZVkn HVbWV# ;dgbZY ^c '%%( l^i] ild VaWjbh gZaZVhZY! i]Z WVcY eZg[dgb i]Z^g dlc hdc\h Vh lZaa Vh XaVhh^Xh Wn ?dg\Z 7Zc ?dg! <^aWZgid <^a VcY V eVgi^XjaVgan Æ[jc`nÇ kZgh^dc d[ EVja BX8VgicZnÉh 8]ZX` bn BVX]^cZ#

IVi^VcV EVggV

+ DG6vÀD

Ldg`^c\ h^cXZ h]Z lVh Ò kZ! IVi^VcV ]Vh eZg[dgbZY l^i] V l^YZ kVg^Zin d[ Vgi^hih/ [gdb >kVc A^ch id DbVgV EdgijdcYd# H]Z WZ\Vc h^c\^c\ _^c\aZh VcY X]^aYgZcÉh 89h l]^aZ h]Z ejghjZY ]Zg hijYn d[ XaVhh^XVa e^Vcd! l^cc^c\ VlVgYh# >c '%%(! h]Z WZXVbZ eVgi d[ i]Z \gdje d[ XdbedhZg VcY \j^iVg^hi! 8]^Xd E^c" ]Z^gd! l^i] l]db h]Z idjgZY! Vahd eVgi^X^eVi^c\ dc ]^h hZXdcY VaWjb#

HVbWV 8]jaV YZ H d 7gVo

&&

H6B76 868=686 : K>DA6

GZegZhZci^c\ i]Z igVY^i^dcVa hVbWV YZ gdYV! i]Z \gdje HVbWV 8]jaV YZ H d 7gVo gZXZcian gZXdgYZY i]Z^g YZWji VaWjb ÆFjVcYd Ydj b^c]V g^hVYV! ]V! ]V###Ç i]gdj\] V \gVci VlVgYZY Wn ;jcVgiZ# I]Zn VgZ WVhZY ^c H d 7gVo! V hbVaa Xdb" bjc^in adXViZY djih^YZ d[ HVcid 6bVgd! 7V]^V! l]^X] WZ\Vc ^ih a^[Z Vh V fj^adbWd! V k^aaV\Z [djcYZY Wn gjcVlVn haVkZh#

GV[V 7VggZid

&+

:CIG: 7:8DH

GV[V 7VggZid ^h V hdc\lg^iZg! h^c\Zg VcY \j^iVg^hi l^i] V g^X] VcY ^ccd" kVi^kZ bjh^XVa jc^kZghZ# =^h bjh^X ^h WVhZY dc XjggZci igZcYh d[ :j" gdeZVc VcY ldgaY bjh^X# 7gVo^a^Vc Vgi^hih hjX] Vh <^aWZgid <^a dg AZ" c^cZ Vahd ^cÓ jZcXZ GV[VÉh bjh^X# ;Zhi^kZ VcY YZchZ! ^i ^h V b^m d[ igVY^i^dcVa 7gVo^a^Vc bjh^X VcY XdciZbedgVgn bjh^X! \d^c\ [gdb ede id BE7 VcY hVbWV bjh^X#

9Vc^ad BdgVZh Z dh 8g^VYdh BjYdh

,

C6 KDAI6 9D E6G>

9Vc^ad ]Vh eZg[dgbZY l^i] 8]^Xd 8‚hVg! B^g^Vb BVg^V! 8‚J VcY 8Zj" bVg# =^h Ò ghi hdad 89 lVh gZaZVhZY ^c '%%( VcY gZXZ^kZY Zci]jh^Vhi^X gZk^Zlh Wn Xg^i^Xh ^c 7gVo^a# >c '%%) ]Z bdkZY id ;gVcXZ! l]ZgZ ]Z eZg" [dgbZY ^c EVg^h VcY ^c di]Zg X^i^Zh VgdjcY :jgdeZ# GZXZcian! 7gVo^a" ^Vc h^c\Zg 8‚j gZXdgYZY BV^h jb aVbZcid! V hdc\ XdbedhZY Wn ]Zg VcY 9Vc^ad BdgVZh#

AjX^VcV BZaad

&'

C6 K:>6 96 CĂš<6

6h V X]^aY! h]Z hVc\ ^c X]d^gh VcY aViZg eZg[dgbZY ^c bjh^XVah# H]Z ZbZg\ZY dc i]Z cVi^dcVa ede hXZcZ l^i] ]Zg Ò ghi VaWjb! 6hh^b FjZ HZ ;Vo! ^c '%%&# =Zg [Vi]Zg ^h i]Z hjX" XZhh[ja h^c\Zg ?V^g GdYg^\jZh VcY ]Zg Wgdi]Zg! ?V^g Da^kZ^gV! ^h Vahd Vc ^cÓ jZci^Va egdYjXZg d[ bdYZgc ede bjh^X VcY ^h V h^c\Zg$hdc\lg^iZg ^c ]^h dlc g^\]i# AjX^VcV b^mZh BE7 l^i] hdja VcY ]^e"]de#

;Za^eZ 8dgYZ^gd

&,

A:<6A : >A:<6A

;gdb 7Za‚b ^c i]Z cdgi] d[ 7gVo^a! ;Za^eZ 8dgYZ^gd ]Vh \di bjh^XVa ]Zg^iV\Z ^c heVYZh ]^h [Vi]Zg lVh Vc ^bedgiVci AVbWV" YV e^dcZZg b^mZh adXVa g]ni]bh hjX] Vh aVbWVYV VcY iZXcdWgZ\V l^i] gZigd"ede! V b^mijgZ ]Z YZhXg^WZh Vh @^ihX]"Ede"8jai# =Z ^h gVe^Yan WZXdb^c\ dcZ d[ i]Z `Zn bjh^X ÄÒ \jgZh ^c i]Z 6bV" odc iZgg^idg^Zh#

9Vc^ <jg\Za

-

C:C:86

6[iZg eaVn^c\ kVg^djh bjh^XVa ^c" higjbZcih Yjg^c\ &* nZVgh! 9Vc^ <jg\Za lVh VWaZ id Ă’ cY i]Z dcZ h]Z adkZh WZhi/ ]Zg kd^XZ# L]Zc h]Z WZ\Vc id lg^iZ hdc\h l^i] ang^Xh! V[iZg &* nZVgh ^c i]Z ^chigjbZciVa jc^kZghZ! 9Vc^ Y^hXdkZgZY h^c\^c\# >c '%%, h]Z dg\Vc^oZY V hZg^Zh d[ XdcXZgih 9Vc^ <jg\Za VcY i]Z CZl 8dbedhZgh ! l]^X] ^che^gZY ]Zg Zc" i^gZ gZeZgid^gZ V h^c\Zg"hdc\lg^iZg#

KZgdc^XV ;Zgg^Vc^ 8]^Xd HVgV^kV

&(

9: H6AID 6<JA=6

8]^Xd VcY KZg�c^XVÉh eVgicZgh]^e hiVgiZY l]Zc i]Z \j^iVg eaVnZg ^c" k^iZY ]Zg id iV`Z eVgi ^c i]Z idjg d[ ]^h 89 Ig‚\jV# H^cXZ i]Zc! V higdc\an Wj^ai eVgicZgh]^e ]Vh YZkZadeZY! id" \Zi]Zg l^i] XdbedhZg BVjgd 6\j^" Vg# >c '%%-! 8]^Xd YZX^YZY id lg^iZ bZadY^Zh [dg ang^Xh i]Vi ]VY VagZVYn WZZc lg^iiZc! VcY ]Z X]dhZ cd di]Zg i]Vc BVjgdÉh ang^Xh# I]Z gZhjai lVh hd \ddY i]Zn bVYZ V 89 dji d[ ^i#

9Za^V ;^hX]Zg

&-

B:G869D

H^c\Zg"hdc\lg^iZg! h`^aaZY e^Vc^hi VcY cdl Vahd egdYjXZg 9Za^V ;^hX]Zg ^h lZaa `cdlc YjZ id ]Zg bjh^XVaan g^X] VcY Y^kZgh^Ò ZY egd_ZXih# H]Z cdl idVhih jh l^i] ]Zg ÆEgZhZciZÇ! V X]Vgb^c\ ldg` ^c l]^X] h]Z kZcijgZh [dg i]Z Ò ghi i^bZ ^cid i]Z aVcY d[ i]Z edejaVg hdc\# I]ZgZ VgZ ilZakZ hdc\h XdcXZ^kZY Wn ]Zg Yjg" ^c\ i]Z gZXZci nZVgh ^c XdaaVWdgVi^dc l^i] eVgicZgh a^`Z I]^V\d E^XX]^#

BVlVXV M AW AC A

.

RUPESTRES SONOROS HD E:G:L6IM:

BVlVXV ^h V 7gVo^a^Vc \gdje gZX" d\c^oZY [dg i]Z^g gZhZVgX] VcY gZXgZVi^dc d[ bjh^X [gdb Vaa dkZg i]Z ldgaY! eZg[dgb^c\ ^c Ò [iZZc aVc\jV\Zh# JcYZg i]Z \j^YVcXZ d[ WVcY"aZVYZg BV\YV EjXX^! i]Z WVcY ]Vh YZkZadeZY V hda^Y XVgZZg Wdi] ^c 7gVo^a VcY VWgdVY# I]Z aVi" Zhi VaWjb " ÆGjeZhigZh Hdcdgdh Ä gZkZVah Vc VheZXi d[ 7gVo^a i]Vi ^h jc`cdlc id bdhi eZdeaZ#

BVgXZaV 7ZaaVh

&)

6AID 9D 8DFJ:>G>C=D

L^aa 8VZiVcd a^`Z ^i4 I]Z gZhjai d[ V eVgicZgh]^e WZilZZc BVgXZaV 7ZaaVh VcY di]Zg ild bjh^X^Vch! IVYZj BVhXVgZc]Vh! [gdb 7V]^V! VcY Gdk^ahdc EVhXdVa! [gdb HE# >cÓ j" ZcXZY Wn g]ni]bh a^`Z hVbWV! gdX`! YjW! ig^e"]de VcY! d[ XdjghZ! ,%Éh 8VZiVcd! Vbdc\ di]Zg edZih d[ 7gV" o^a^VcÉh bjh^X! H]Z hjbh je/ Æ7gVo^a ^c i]Z '&hi XZcijgn# 8aZVc! Wji hi^aa l^i] V a^iiaZ idjX] [gdb i]Z eVhi#Ç

I^\Vc{ HVciVcV

&.

BJADAD@>

I^\Vc{ ^h V h^c\Zg"hdc\lg^iZg [gdb 7V]^V! V ndjc\ edZi! V hZVgX]Zg d[ ]^h 6[gd"7gVo^a^Vc gddih! l]d gZkZVah l^i] ]^h XgZVi^dc VcY ]^h hd eZXja^Vg kd^XZ! ]^h dlc bdYZgc VcY VcXZhigVa h^\]i d[ i]Z jc^kZghZ# =Z ^h dcZ d[ i]dhZ gVgZ 7gVo^a^Vch l]d XdbedhZh ^c 6[g^XVc aVc\jV\Zh! gZ[gZh]^c\ djg ZVgh l^i] ]^h V^gn ]Vgbdc^Zh ^che^gZY [gdb i]Z edane]dc^X aVc\jV\Zh! Vi" iVX]ZY id ]^h VcXZhigVa gddih#

DgfjZhigV 7gVh^aZ^gV YZ BÂ?h^XV ?VbV^XVcV

&%

H@6 6GDJC9 I=: C6I>DC

8dch^hi^c\ d[ c^cZ ide"XaVhh H d EVjad bjh^X^Vch! i]Z DgfjZhigV 7gVh^aZ^gV YZ B�h^XV ?VbV^XVcV eZg[dgb gddih gZ\\VZ! h`V VcY gdX`hiZVYn l^i] V Y^[[ZgZcXZ# :hiVW" a^h]ZY ^c '%%* Wn egdYjXZg H‚g\^d Hd[Ò Vii^ Z d igdbeZi^hiV ;Za^eeZ E^" eZiV! Wn '%%- i]Zn ]VY [djcY i]Z^g igjZ"XVaa^c\ Ä eZg[dgb^c\ XaVhh^Xh d[ 7gVo^a^Vc bjh^X ^c h`V VcY gZ\" \VZ g]ni]bh# >i ldg`h#

EVjaV A^bV

&*

:A6 w 6 I6A

EVjaV Ă’ ghi XVbZ id cVi^dcVa hjXXZhh l^i] i]Z WVcY ;jc` 8dbd AZ <jhiV# L^i] V hdad XVgZZg d[ Vabdhi iZc nZVgh! h]Z ]Vh gZaZVhZY Ă’ kZ VaWjbh! ild ^c :jgdeZ VcY ?VeVc# ;dgb^c\ XaVhh^Xh d[ 7gVo^a^Vc bjh^X ^c h`V VcY gZ\\VZ g]ni]bh# >i ldg`h# I]Z^g a^kZ h]dlh [ZVijgZ ÆD <jVgVc^Ç Wn 8Vgadh <dbZh! Vh lZaa Vh ÆÛ\jVh YZ BVg dÇ! Æ7Vgfj^c]dÇ! ÆHVbWV YZ KZg dÇ VcY Æ<VgdiV YZ >eVcZbV#Ç

I]Z 7B 6! [djcYZY ^c '%%&! ^h Vc C<D WVhZY ^c H d EVjad# 6bdc\hi ^iÉh kVg^djh egd_ZXih! i]Z eg^cX^eVa VXi^k^in ^h deZgVi^c\ Vh i]Z 7gVo^a^Vc Bjh^X :medgi D[Ò XZ# L^i] hjeedgi [gdb I]Z 7gVo^a^Vc IgVYZ VcY >ckZhibZci Egdbdi^dc 6\ZcXn 6eZm"7gVh^a ! i]Z 7B 6 egdbdiZh i]Z Zmedgi d[ 7gVo^a^Vc bjh^X! hjeedgih i]Z ^ciZgcVi^dc" Va^oVi^dc d[ 7gVo^a^Vc XdbeVc^Zh VcY ViigVXih [dgZ^\c ^ckZhibZcih ^cid i]Z Xdjcign# 6Xi^k^i^Zh ^cXajYZ gZaZVh^c\ Xdbe^aVi^dch 89h VcY Y^\^iVa d[ cZl ^cYZeZcYZci 7gVo^a" ^Vc bjh^X! igVYZ b^hh^dch id 7gVo^a VcY i]Z eVgi^X^eVi^dc d[ egdYjXZgh VcY WVcYh ^c hjX] [V^gh Vh HMHL VcY LdbZm# ;dg bdgZ ^c[d XdciVXi/ YVk^Y5WbV#dg\#Wg#

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

A5¢ A<= "

<0A

+H [QW XG QPN[ IQV Âż XG UJQVU VJKU OQPVJ VJKU KU KV TGCF[ CKO Âż TG

WZ hjgZ YOU DON'T MISS OUT

YdlcadVY

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

YOUR VERY OWN

E>8IJG: 7N <67G>:A L>8@7DA9

[ZZa

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

_d^c THE AFRO-BRASILIAN

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

URKEGU

A5¢ A<=

?2.@<;@ ID 86I8= I=: 76Aw

;G:: EDHI"H=DL H6B76

:kZgn IjZhYVn! V[iZg WZ^c\ ZcZg\^hZY Wn i]Z ]^\]an"X]Vg\ZY eZg[dgbVcXZ! i]Z VjY^ZcXZ l^aa ]VkZ i]Z X]VcXZ id aZi i]^h k^WZ Ó dl i]gdj\] i]Zb l^i] [gZZ hVbWV XaVhhZh

HJEEDGI I=: EGD?:8I

7Va YZ GjV YdZhcÉi ]VkZ Vcn eZgbVcZci [jcY^c\ hd idjgh VgZ i]Z^g bV^c hdjgXZ d[ ^cXdbZ! Vaadl^c\ i]Zb id gZci heVXZ VcY egdk^YZ egd_ZXih [dg i]Z adXVa Xdbbjc^in

;DG I=: BJH>8 7ZndcY i]Z WZVih eZg[dgbZY Wn i]Z YVcXZgh VcY a^kZ h^c\Zg! i]Z h]dlÉh hdjcYigVX` ^h ViigVXi^kZ ^c ^ihZa[ Ä [ZVijg^c\ dg^\^cVa bjh^X [gdb K^cXZci 6giVjY! EZYgd ;ZggZ^gV VcY CVc{ KVhXdcXZadh! Vadc\ l^i] igVY^i^dcVa 7gVh^a^Vc ijcZh#

&+ ,WPING&TWOU D8ID7:G '%&%

I]Z Wdnh VcY \^ga VgZ WVX` ^c idlc 76Aw 9: GJ6

a^k^c\ i]Z bdbZci

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”. ,&

={ YZod^id Vcdh Vig{h! ig h Vb^\dh YV eZg^[Zg^V YZ JWZga}cY^V XdbZ VgVb V hZ ZcXdcigVg Xdb djigdh _dkZch adXV^h eVgV XZaZWgVg V XjaijgV YZ gjV# BVgXd 6ci c^d <VgX^V! ;ZgcVcYd CVgYjX]^ Z ?dh BVX^Za H^akV ^c^X^VkVb Vhh^b jbV igV_Zi g^V X]Z^V YZ YZiZgb^cV d Z ÆZhe g^id YZ ajiVÇ! Xdbd d eg eg^d ;ZgcVcYd Y^g^V# HZb d gZXdc]ZX^bZcid YV ^begZchV dj fjVafjZg Ved^d Yd \dkZgcd! d \gjed hZ gZjc^j Zb WjhXV YZ jb Zhi^ad eg eg^d fjZ VhhdX^VhhZ V XjaijgV Yd ]^e ]de Xdb bVc^[ZhiV Zh XjaijgV^h WgVh^aZ^gVh# 6 ]^hi g^V Yd 7Va YZ GjV XdbZ dj V hZg YZÒ c^YV fjVcYd! cd Vcd '%%%! ZaZh gZXZWZgVb jb eg b^d fjZ \VgVci^j V XdcigViV d Ydh ^ciZ\gVciZh Xdbd WV^aVg^cdh egdÒ hh^dcV^h# 9ZY^XVcYd"hZ ^ciZ^gVbZciZ | YVc V! d \gjed Xdci^cjdj hZj igVWVa]d Vi fjZ Zb '%%' jbV VegZhZciV d cV 7^ZcVa YZ 9Vc V YZ Andc YZheZgidj d ^ciZgZhhZ Yd egdYjidg E^ZggZ BdgVcY! XdbZ VcYd jbV cdkV [VhZ cV XdbeVc]^V# D h]dl fjZ aZkV d bZhbd cdbZ Yd \gjed [gjid YV XdaVWdgV d fjZ hZ ^c^X^dj Zb '%%+ Xdb d [gVcX h EVja 9ZhkZVjm! fjVcYd ZhiZ k^h^idj d 7gVh^a eVgV V_jYVg V Xdchigj^g V ZhigjijgV Yd ZheZi{Xjad# 7Va YZ GjV eVhhV Zci d V XdbW^cVg d adXVa Z d ^ciZgcVX^dcVa! V gjV Z d eVaXd0 d fjZ a]Zh eZgb^iZ YVg VjaVh YZ YVc V \gVij^iVh V _dkZch YV eZg^[Zg^V# 6 WV^aVg^cV HVcYgV BVgV! c^XV bja]Zg Yd \gjed! X^iV V ÆkdciVYZ YZ kZcXZgÇ Xdbd XVgVXiZg hi^XV bVgXVciZ cV egdYj d# :hi^bjaVcYd ^c^X^VciZh V hZbegZ VXgZY^iVg cdh hZjh ^YZV^h# :aV Vk^hV fjZ d ZheZi{Xjad gZidgcV Xdb jbV XVcidgV! Z fjZ d e Wa^Xd edYZ ZheZgVg bj^iV ZcZg\^V WgVh^aZ^gV ed^h V XdbeVc^V kV^ ÆaZkVciVg d edk dÇ# ,& D[ /CHq 6QNGFQ 76Aw 9: GJ6 5 E:68D8@ I=:6IG: 'C9 " '%I= Cdk! kVg^djh i^bZh! &*")%

3?<: A52 <BA@612 6;

E6JAÉH E:GHE:8I>K:

HiV\Z Y^gZXidg EVja 9ZhkZVjm hed`Z VWdji ]^h adkZ [dg 7gVh^a^Vc XjaijgZ VcY i]Z^g eZdeaZ! l]d! [dg ]^b! VgZ Vaa VWdji a^k^c\ ^c i]Z bdbZci# Æ>c 7gVh^a! eZdeaZ hb^aZ V adi! Vh ^[ i]Zn lZgZ ValVnh hVn^c\ i]Vi i]ZnÉgZ ]Veen id WZ ]ZgZ! Vi i]^h bdbZciÇ# =Z WZa^ZkZh i]Vi i]^h fjVa^in d[ WZ^c\ Æ^cid a^[ZÇ ^h i]Z kZgn he^g^i d[ i]Z h]dl! VcY ed^cih id i]Z YVcXZghÉ gZVY^cZhh id ign cZl bdkZbZcih VcY ^YZVh Yjg^c\ gZ]ZVghVah# EVja! l]d k^h^iZY V 8VcYdbWa iZbeaZ Yjg^c\ dcZ d[ ]^h ig^eh id 7gVh^a! idaY jh i]Vi dkZg i]ZgZ ÆeZdeaZ \Zi ndj! jcYZghiVcY ndj! h]VgZ l^i] ndjÇ# 6cY i]Z ;gZcX]bVc WZa^ZkZh i]Vi l^i] i]^h deZc Vii^ijYZ ^iÉh edhh^WaZ " Vh 7Va YZ GjV YdZh Ä id VeegdVX] gZaZkVci ^hhjZh hjX] Vh i]Z ZchaVkZbZci d[ 6[g^XVch Yjg^c\ 7gVh^a h Xdadc^Va ZgV# Æ>[ lZ XVc iVa` VWdji i]^h hjW_ZXi l^i] V W^\ hb^aZ! hd bjX] i]Z WZiiZgÇ! ]Z hV^Y# Cd YdjWi i]Vi i]Z hb^aZh l^aa WZ XdciV\^djh

H69A:GHL:AAH#8DB %-)) )&' )(%%

E>8IJG: 7N HI:E=6C: @:GG69

URKEGU

C6;F9 9.;1

I=: HIDGN 7:=>C9 I=: E>8IJG:

L]dÉh ndjg bViZ l^i] i]Z eaViZ4 I]ViÉh Aj^o KVaZciZ! i]Z 7gVh^a^Vc [djcYZg d[ Vc VlZhdbZ cZl gZXdgY aVWZa XVaaZY K^cna AVcY# 6cY l]ViÉh i]Vi cZmi id ]^b4 >h i]Vi l]Vi BE(h add` a^`Z WZ[dgZ i]Zn \d ^cid i]Z ^ciZgcZi4 Cd! [dda I]dhZ VgZ gZXdgYh# K^cna gZXdgYh# =VkZcÉi ndj ZkZg hZZc k^cna WZ[dgZ4 D[ XdjghZ cdi# > lVh Wdgc ^c '%%' D`Vn! lZaa a^hiZc/ dcXZ jedc V i^bZ bjh^X XVbZ dc W^\ eaVhi^X Y^hXh i]Vi add`ZY \gZVi VcY hdjcYZY ZkZc WZiiZg# 7ji i]Zc 89h XVbZ Vadc\ VcY ZkZgni]^c\ X]Vc\ZY# I]ZhZ YVnh i]ZgZÉh dcan dcZ k^cna [VXidgn aZ[i ^c i]Z l]daZ d[ Hdji] 6bZg^XV# D] cd D] nZh½ 7ji YdcÉi ldggn# KVaZciZ VcY K^cna AVcY ]VkZ XdbZ id hVkZ i]Z YVn# >che^gZY Wn i]Z ]VgY"ldg`^c\ 9?h l]dÉkZ gZbV^cZY adnVa id i]Z [dgbVi! i]Z aVWZaÉh WZZc gZaZVh^c\ hdbZ d[ 7gVh^aÉh bdhi ZmX^i^c\ cZl WVcYh dc WZVji^[jaan eVX`V\ZY ,Ç VcY &'Ç gZXdgYh# I]ZgZÉh ]^e"]de hVbWV"hdja hjeZghiVg 8jgjb^c! [dg hiVgiZgh! eajh i]Z YZWji VaWjb [gdb 9d 6bdg! l]d VgZ 8VZiVcd KZadhdÉh WVX`^c\ WVcY VcY ]VkZ WZZc YZhXg^WZY Vh 7gVh^aÉh VchlZg id KVbe^gZ LZZ`ZcY# 8dda# Hd l]ZgZ Yd > YdlcadVY i]ZhZ gZXdgYh [gdb4 Ndj _jhi YdcÉi \Zi ^i! Yd ndj4 K^cna AVcY gZXdgYh VgZ VkV^aVWaZ [dg $bV^a dgYZg$ i]gdj\] i]Z^g lZWh^iZ# @^Yh i]ZhZ YVnh½ k^cnaaVcYgZXdgYh#Xdb bnheVXZ#Xdb$k^cnaaVcY

BJH>86A :M8=6C<:

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

HZ kdX Zhi^kZg Zb H d EVjad Zb cdkZbWgd Z edg VXVhd eZ\Vg d bZig ! kV^ cdiVg jbV Y^[ZgZc V Ä bVh \gVcYZ hZbZa]Vc V Xdb d ijWZ adcYg^cd# w fjZ b h^Xdh YZ d^id X^YVYZh eZad bjcYd! ZcigZ ZaVh AdcYgZh! EVg^h! BdhXdj! CdkV >dgfjZ Z BdcigZVa [Vg d VegZhZciV Zh Zb Y^kZghVh ZhiV Zh Yd bZig eVja^hiVcd# 6 ^YZ^V hjg\^j Zb '%%+! fjVcYd! eVhhZVcYd edg CdkV >dgfjZ! d eVja^hiV BVgXZad 7ZgVaYd hZ ^begZhh^dcdj Xdb V g^XV XjaijgV YZ Wjh`^c\ cVh a^c]Vh YZ bZig YV X^YVYZ Z YZX^Y^j hZ Zc\V_Vg eVgV fjZ cd 7gVh^a! dcYZ Vh eZg[dgbVcXZh c d h d eZgb^i^YVh cd h^hiZbV bZigdk^{g^d! d e Wa^Xd ejYZhhZ Vd bZcdh Xdc]ZXZg ZhiZ i^ed YZ eg{i^XV# ÆFjZg^V YVg jb egZhZciZ eVgV b^c]V X^YVYZ cViVa! Z bdhigVg | eVgiZ YVh (!* b^a] Zh YZ eZhhdVh fjZ VcYVb Y^Vg^VbZciZ cd bZig YZ H d EVjad fjZ Zm^hiZb iVaZcidh fjZ cjcXV ^bV\^cVgVbÇ! Y^o ZaZ# FjVigd Vcdh Z k{g^Vh k^V\Zch Xdc]ZXZcYd egd\gVbVh YZ Wjh`^c\ Vd gZYdg Yd bjcYd YZed^h! hjg\Z V eg^bZ^gV ZY^ d Yd ;Zhi^kVa >ciZgcVX^dcVa YZ B h^Xdh YZ BZig ! d GZY 7jaa HdjcYZg\gdjcY! fjZ _{ cVhXZ Xdb eaVcdh eVgV hZg gZVa^oVYd VcjVabZciZ Zb X^YVYZh Y^[ZgZciZh Yd \adWd# ,& D[ #PC $TCUKN

S¢?;¡;Q< 4<;@¡Y¢@

The dancer used to dance with a very thin snake. &- ,WPING&TWOU D8ID7:G '%&%

LLL#C>FJ:A#8DB#7G

But it became too heavy with time.

"That's ok! I did too!"

E>8IJG: 7N AJ86H BDG:>G6

URKEGU

96@A2; 96C2

D> NDJ

B:AD9>:H 9D <G>C<D

L>I= NDJG DLC :6GH

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

Ija^eV! dcZ d[ i]Z [gZh] cZl [VXZh [gdb 7gVh^a

A5¢ A<=

;2D 0<<9

B>C> 7DM AJC6G

9ZhXg^WZY Vh ?Z[[Zghdc 6^geaVcZ l^i] XVanehdÇ! XdbeVg^hdch l^i] Dh BjiVciZh VgZ Vahd ^cZk^iVWaZ YjZ id i]Z^g ndji][ja bVhiZgn d[ Vc VggVn d[ \ZcgZh/ ^chVcZ Xdjcign [jc`! 6bVodc^Vc lVaioZh! XVanehd" bVgX]^c]V! i]Zn aZVY i]Z lVn [dg cdkd"Igde^X{a^V#

6AI:GC6I>K: 7G6H>A>6C 68IH

'% ,WPING&TWOU D8ID7:G '%&%

BNHE68:#8DB$ B>C>7DMAJC6G

86I6G>C6 9:: ?6=

I]^h [dgbZg 9? cdl bVc\jZWZVi"ede"hiVg hdjcYh a^`Z V 7gVh^a^Vc Xgdhh WZilZZc 9ZWWn =Vggn VcY B#>#6# H]Z X^iZh ;ZgcVcYd 8ViViVj Vh dcZ d[ ]Zg bjh^XVa ]ZgdZh VcY ]Zg h`V"YVcXZ]Vaa ^cÓ jZcXZY hdjcY ZX]dZh 8^YVY d >chi^\VYd h eaVn[jacZhh# BNHE68:#8DB$ 86I6G>C69::?6=

B^c]V ^cigdYj d | bÂ?h^XV WgVh^aZ^gV [d^ Xdb dh egd\gVbVh Yd <^aaZh EZiZghdc! fjZ bZ aZkVgVb Vd BVc\jZWZVi Z | Igde^X{a^V# >hid bZ [Zo fjZgZg hVWZg bV^h hdWgZ V cdkV XZcV# 8dbd c d ZcXdcigZ^ cZc]jbV Xdbe^aV d! YZX^Y^ [VoZg V b^c]V# EZhfj^hVcYd Wad\h! bnheVXZ Z WVcYVh eh^XdY‚a^XVh! ZhiVkV XdckZcX^Yd YZ fjZ ZcXdcigVg^V Va\j‚b [VoZcYd hVbWV"eh^XdY‚a^Xd " c d VX]Z^ " cd ZciVcid YZ^ YZ djk^Ydh Xdb 7V^VcV HnhiZb! fjZ b^hijgV \j^iVggV WV^VcV Xdb `jYjgd# CV eg^bZ^gV djk^YV! IZXcdWgZ\V hdV Xdbd Zjgd" ede gj^b! bVh fjVcYd k^ <VWn 6bVgVcid! [d^ Xdbd djk^g Ejbe je i]Z ?Vb eZaV eg^bZ^gV kZo# K^h^iZ^ d 7gVh^a cd Ă’ b YZ '%%.! djk^ WVcYVh! Ă’ o Vb^\dh Z WZW^ e^cih YZ XVX]V V# 9Zed^h YZ cdkZ bZhZh YZ igVWVa]d! aVcXZ^ ĂˆD^ É! jbV XdaZi}cZV YZ )% [V^mVh YZ k{g^dh XVcidh Yd 7gVh^a Z V fjVa Bg# EZiZghdc cdbZdj hjV Xdbe^aV d Yd b„h# ,& D> 6 CDK6 BĂŚH>86 7G6H>A:>G6 K6G>DJH 6GI>HIH BV^h Jb 9^hXdh

<67N 6B6G6CIDH B69:G>ID

;daadl^c\ ]Zg iZXcdWgZ\V XdkZg d[ ĂˆH^c\aZ AVY^ZhÉ 7gVh^a h bZY^V YjWWZY ]Zg i]Z Æ6bVodc^Vc 7ZndcXZÇ# BVYZg^id ^h i]Z `^c\ d[ ZaZigdbZadYn! iZXcdWgZ\VÉh hadlZg"Wji"gVkZY"je Xdjh^c! VcY Vh <VWnÉh bjh^XVa eVgicZg"^c"Xg^bZ i]^h bV`Zh ]^b i]Z 6bVodc^Vc ?Vn"O# <67N6B6G6CIDH#8DB

L=:G: ID 86I8= I=: C:L 7:6I >C ADC9DC IDLC AdcYdc ^h lZaa hZgkZY [dg 7gVh^a^Vc bjh^X/ Bdk^b^Zcidh VgZ i]Z Ydch d[ VaiZgcVi^kZ AVi^c hdjcYh VcY gZ\jaVgan eji dc 7gVh^a^Vc ZaZXigd" gddih 9?h VXih0 9? 8a^[[n hZgkZh je V ig^ZY VcY iZhiZY b^m d[ hVbWV! igde^X{a^V ZaZXigd"7gVh^a l^i] 7VibVXjbWV0 8ajW EdedodjYV d[[Zgh WV^aZ"[jc` iZXcdWgZ\V XdjgiZhn d[ gZh^YZcih ?d d 7gVh^a I]Z 7jbeh VcY [gdb '%&& >Éaa hiVgi egdbdi^c\ \^\h [ZVijg^c\ hdbZ d[ i]Z bdhi ZmX^i^c\ 7gVh^a^Vc Vgi^hih VgdjcY hd lViX] i]^h heVXZ bV^hjbY^hXdh#Xdb BDK>B>:CIDH 5Cdii^c\ =^aa 6gih 8ajW! G^X] B^m EVhh^c\ 8adjYh BDK>B>:CIDH#DG<#J@ 76IB68JB76 5Cdii^c\ =^aa 6gih 8ajW BNHE68:#8DB$ 76IB68JB76 8AJ7 EDEDODJ96 5;VkZaV 8]^X ;68:7DD@#8DB$ 8AJ7EDEDOJ96

!

EDG86H 7DG7DA:I6H

ÆH]Vge bjh^X^Vch]^e! dYY i^bZ h^\cVijgZh VcY V idjX] d[ Bdcin Eni]dcÇ ^h ]dl I]Z <jVgY^Vc YZhXg^WZY i]Zb# I]ZhZ i]ZVig^XVa edhi"ejc`Zgh VgZ ^cÓ jZcXZY Wn i]Z KVc\jVgYV EVja^hiV! Vi i]Z [dgZ[gdci d[ i]Z Wjg\Zdc^c\ igde^XVa gdX` bdkZbZci# BNHE68:#8DB$ EDG86H7DG7DA:I6H

"

;ADG6 B6IDH

Cdb^cViZY [dg BIKÉh ĂˆGVe Vgi^hi d[ i]Z nZVgÉ '' nZVg daY ;adgV BVidh ^h dcZ d[ Hdji] 6bZg^XVÉh bdhi egdb^h^c\ ndjc\ B8h# :fjVaan Vi ]dbZ he^ii^c\ ang^Xh dkZg hijiiZg^c\ YVcXZ]Vaa dg _Voon WgZV`h h]Z h dcZ ndjc\ B8 l]d YZĂ’ c^iZan Ăˆ`cdlh ]dlÉ# BNHE68:#8DB$ ;ADG6B6IDHB8

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

\gVe]^X cdkZain A SNAPSHOT OF THE CREATIVE CAPACITY OF LATIN AMERICAN DESIGN 6 VgiZ \g{Ò XV cV 6b g^XV AVi^cV iZb jbV g^XV ]^hi g^V fjZ hZ ZhiZcYZ YZhYZ Edgid G^Xd Vi d EVgV\jV^! YVh Ò \jgVh ZcXdcigVYVh cV a^iZgVijgV YZ XdgYZa Yd cdgYZhiZ WgVh^aZ^gd Vdh e hiZgZh Yd bdk^bZcid eg "YZbdXgVX^V 8]^aZcdh# BVh d bjcYd bjYdj ^bZchVbZciZ Z! \gV Vh V ^b^\gVciZh ZheVa]VYdh Z | ^ciZgcZi! dh Zhi^adh k^hjV^h Yd hja hZ idgcVgVb egZhZc V XdchiVciZ cd XZc{g^d XjaijgVa Yd eaVcZiV# AVi^cd <g{Ò Xd! d cdkd Z WZad a^kgd YV <ZhiVaiZc! d[ZgZXZ jbV ^cXg kZa [did\gVÒ V YZhiZ XZc{g^d ]d_Z# :ciZY^VciZ c d # >cXaj^cYd d igVWVa]d YZ *- Ydh bZa]dgZh Zcijh^VhiVh Yd e]didh]de Z YZhZc]^hiVh Yd hja Yd G^d <gVcYZ!

d a^kgd Xdci b WVh^XVbZciZ ijYd d fjZ hZ edhhV ^bV\^cVg Z Vi d fjZ c d hZ ^bV\^cVg^V# 6 ?jc\aZ Vbdj V eh^XdYZa^V Yd WgVh^aZ^gd =ZgWZgi 7V\a^dcZ Xj_V Zmedh^ d cV \VaZg^V AVoVg^YZh Zb AdcYgZh [d^ jbV kZgYVYZ^gV k^V\Zb ! iVcid fjVcid V X]^aZcV K^g\^c^V :X]ZkZgg^V! Xj_V h g^Z bVgVk^a]dhV YZ XdaV\Zch VcVa \^XVh edYZg^Vb eZg[Z^iVbZciZ hZg e hiZgZh YZ Ò abZh [jijg hi^Xdh YZ =^iX]XdX`# 6a b Y^hhd! ]{ d 9K9! Xdb (% XjgiVh! Vc cX^dh Z k^c]ZiVh fjZ h d YZ YZggZiZg d X gZWgd# EVgZXZ Wdb4 6XZhhZ _jc\aZYgjbhdca^cZ#Xdb eVgV iZg V X]VcXZ YZ \Vc]Vg jbV X e^V# ,&

@=¢0V¡9 =?<:<aV<;

=>I DJG L:7H>I: ;DG NDJG 8=6C8: ID L>C A6I>CD <GÛ;>8D CDL

©<AA. 5¡C¢ HIG::I H@:I8=7DD@

6[iZg V nZVg ^c 7gVh^a > XVbZ ]dbZ id ild aViZ MbVh \^[i Xde^Zh d[ <gV[Ò i^ 7gVh^a! cdi [dg\Zii^c\ i]Z Xden l]^X] Ó Zl dji id bZ ild bdci]h eg^dg# 6cY l^i] i]Vi i^iaZ! \gVe]^X YZh^\cZg Ig^hiVc BVcXd gZVaan heZaaZY dji i]Z XgZVi^kZ Wdjcin d[ i]Z Xdjcign! \d^c\ dc id YdXjbZci l]daZ gZVabh d[ ldgaY jgWVc Vgi l^i] Wdd`h a^`Z i]Z hijcc^c\ HigZZi H`ZiX]Wdd`# >i h hZfjZa! HigZZi H`ZiX]Wdd`/ ?djgcZnh! Vb^Y Vgi^hih [gdb VgdjcY i]Z \adWZ BVcXd gZk^h^ih i]Z eV^chiV`^c\an ^cig^XViZ eZcX^a YgVl^c\h d[ I]V^h 7ZaigVbZ! i]Z ehnX]ZYZa^X ede eV^ci^c\ d[ GVbdc BVi^ch! i]Z ?VeVcZhZ gddih VcY fjVh^"\di]^X edgigV^ih d[ I ;gZV`! i]Z Ze]ZbZgVa jgWVc XVgk^c\h d[ K]^ah! VcY ZkZc I^c]d! l]d YZh^\cZY djg aVhi XdkZg# >[ ndj lZgZcÉi dcZ d[ i]Z ajX`n * lZ \VkZ V Xden id aVhi bdci] i]Zc idj\] " i^bZ id Xdj\] je [dg i]^h Xd[[ZZ iVWaZ YZa^\]i# HIG::I H@:I8=7DD@/ ?DJGC:NH

',' eV\Zh! &.#.* i]VbZhVcY]jYhdc#Xdb

URKEGU

8=DFJ: 8JAIJG6A 5 EJG: :K>A

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 '%%.

:hiZ b h! kdX iZb YjVh bVcZ^gVh YZ k^kZg Xdbd Zb H d EVjad# Eg^bZ^gV! ZhiVg jb Zc\VggV[VbZcid \^\VciZ " XdgiZh^V YVh \gZkZh Yd I;A0 hZ\jcYV " jbV VaiZgcVi^kV bV^h V\gVY{kZa! bdciVg cjbV 7^`Z Yd 7dg^h Z aZkVg cV \VgjeV jb edjXd Yd 8JAIJG:H=D8@ " bdhigV fj^coZcVa YZ Va\jch Ydh bV^dgZh iVaZcidh YV VgiZ YZ gjV! VigVk h YZ jb ZcXdcigd ZcigZ d EjgZ :k^a adcYg^cd Z V cdi g^V 8]dfjZ 8jaijgVa YZ H d EVjad# 6 XdaVWdgVXVd V i d ZheZgVYV k^h d Yd eg eg^d EjgZ :k^a 8]VgaZn JooZaa :YlVgYh Z! VeZhVg YZ Va\jbVh gZXjVYVh VciZg^dgZh! V Zhi i^XV Æejc` YZ gV^oÇ VeV^mdcVYV YVh YjVh \VaZg^Vh Vh [VoZb XdbeVc]Z^gVh YZ XVbV cVijgV^h eVgV V Zm^W^ d Z egdbd d YZ [dgbVh YZ VgiZ jgWVcVh YZhhV aV^V# 9Z [Vid! V gZejiV d YV 8]dfjZ YZ ZcXdgV_VYdgZh YZ Vgi^hiVh V Ò oZgVb YZ XZgiV [dgbV aZ\ZcY{g^V YZcigd YV Ædjih^YZg VgiÇ Zh[ZgV! \Vc]VcYd gZXdc]ZX^bZcid ^ciZgcVX^dcVa Z |h kZoZh! gZig^Wj^ d Ydb hi^XV ^cXajh^kZ jb ViVfjZ YV E^mVYdgZ Zb '%%- ! edg b V 8]dfjZ c d ! Zb hjVh eg eg^Vh eVaVkgVh! hZ\j^YdgV YZ bdYZadh YZ djigVh \VaZg^Vh/ Æ:hiVbdh XVb^c]VcYd d cdhhd eg eg^d XVb^c]d eVgV [VoZg Vfj^ad fjZ VXgZY^iVbdhÇ# K^cYd ZheZX^VabZciZ eVgV ZhiZ ZkZcid Z eVgV d Bdc^`Zg! V eg^bZ^gV [Z^gV YZ VgiZ jgWVcV cd GZ^cd Jc^Yd! kV^ hZg I^i^ ;gZV`! jb Ydh ZhXg^idgZh bV^h egda Ò Xdh Yd \ZcZgd! Z V Zm^W^ d iVbW b igVo igVWVa]dh YZ HeZid! 8Vgadh 9^Vh! 9Vc^Za BZa^b! BO@! CdkZ! E_diV! EgZhid Z d ^Xdc^Xd OZo d# 9VYV V V[Z^ d b ijV YZ VbWVh X^YVYZh eZaV VgiZ YZ gjV! hZg{! Xdb XZgiZoV! edcid Vaid Yd XVaZcY{g^d hdX^Va# 8dbd gZVa V 8]Vga^Z! Æaj\VgZh Xdbd H d EVjad Z AdcYgZh h d ZhigZhhVciZh Z V\^iVYdh! bVh VbWdh jhVb VgiZ Xdbd jbV bVcZ^gV YZ XdciZg ^hhd Z YZed^h YV ZheZgV YZ Yd^h Vcdh i^bd Ò cVabZciZ igVoZg ZhiZh Vgi^hiVh Z i^gVg d bZa]dg edhh kZa YZhiZ ZcXdcigd Ç# ,& 8JAIJG:H=D8@ 5 EJG: :K>A &)I= " (%i] DXidWZg! ;G:: EJG::K>A8ADI=>C<#8DB %'% ,,'. '-++

05<>B2 0B9AB?.9

6 7>I D; =>HIDGN

H d EVjadÉh 8]dfjZ 8jaijgVa bVYZ V cVbZ [dg ^ihZa[ Wn h]^c^c\ V a^\]i dc V \gdje d[ 7gVh^a^Vc Vgi^hih Ä ^cXajY^c\ Dh<ZbZdh! I^i^ ;gZV` VcY K^iX] Ä l]d ]VkZ \dcZ dc id WZXdbZ hdbZ d[ i]Z W^\\Zhi cVbZh ^c i]Z \adWVa \gV[Ò i^ \VbZ# H^cXZ '%%)! ^ih dlcZgh ]VkZ cZkZg YgdeeZY i]Z^g YZY^XVi^dc id i]Z XVjhZ! ZkZc V[iZg adXVa Èe^mVYdgZhÉ hiV\ZY Vc ^ckVh^dc id egdiZhi i]Z XdbbZgX^Va^hVi^dc d[ ÈhigZZi Vgi # L]^X] ^h l]n 8]dfjZÉh AdcYdc YZWji bV`Zh [dg Vc jcb^hhVWaZ X]VcXZ id X]ZX` dji dcZ d[ i]Z ldgaYÉh bdhi XdcigdkZgh^Va VcY ^cÓ jZci^Va Vgi \VaaZg^Zh#

URKEGU

36?@A A6:2 2C2?

FJ6A>IN H6B76 A6C9H >C ADC9DC

9::E 7AJ:H! H::4

86E>I6A >9:6H GRV BRINGS BRASĂ?LIA BACK TO THE FRONT OF THE MUSIC SCENE December's issue of "Blues Matters" magazine, the most influential read of the genre, will for the first time highlight a Brasilian artist, the keyboard player Ari Borger. Even though his fusion of SĂŁo Paulo styles is responsible for much of this recognition, he still needed a foot in the door through an ex-colleague to enter the European market. Borger is one of dozens of artists launched by GVR, an independent label-cum-talent agency proud to battle for Brasilian music. Founded by Gustavo de Vasconcellos, a drummer who hung up his sticks to work as a producer and business man, GRV became one of the leading promoters of music from its home city BrasĂ­lia while the big labels left the capital's scene to one side - a big contrast to the 80s, when you couldn't talk about Brasilian Rock without mentioning bands like Paralamas do Sucesso or LegiĂŁo Urbana. "But even those big bands were only appreciated once they made it outside the city. Our work gives space for the local scene." explains Gustavo, who now envisions a future where the business also helps artists adapt to the demands of the new music industry. Nothing surprising for a cultural mover & shaker who has organized independent festivals in BrasĂ­lia and whose label boasts a catalogue of over 40 releases. Borger is GRV's first artist from outside the city. A sign of growth? “We’re offering alternatives for the artistsâ€?. ,& '+ ,WPING&TWOU D8ID7:G '%%.

6 ZY^ d YZ YZoZbWgd YV gZk^hiV 7ajZh BViiZgh ! V bV^h ^bedgiVciZ Yd \„cZgd cd GZ^cd Jc^Yd! eZaV eg^bZ^gV kZo YVg{ YZhiVfjZ V jb Vgi^hiV WgVh^aZ^gd Ă„ d iZXaVY^hiV 6g^ 7dg\Zg# 6^cYV fjZ V [jh d YZ Zhi^adh Yd eVja^hiV hZ_V gZhedch{kZa edg WdV eVgiZ YZhhZ gZXdc]ZX^bZcid! Vh edgiVh VWZgiVh edg jb Zm"XdaZ\V Zhi d hZcYd [jcYVbZciV^h cZhiV ZcigVYV cd bZgXVYd ZjgdeZj/ 7dg\Zg ‚ jb Ydh YZoZcVh YZ Vgi^hiVh aVc VYdh eZaV <KG! jbV b^hijgV YZ hZad ^cYZeZcYZciZ Z VYb^c^higVYdgV YZ iVaZcidh fjZ XdbeaZiV &% Vcdh Xdbd jbV [gZciZ YZ WViVa]V cV bÂ?h^XV WgVh^aZ^gV# ;jcYVYV eZad XVg^dXV <jhiVkd YZ KVhXdcXZaadh! jb WViZg^hiV fjZ igdXdj Vh WVfjZiVh eZad igVWVa]d Xdbd egdYjidg Z ZbegZh{g^d! V <GK igVch[dgbdj"hZ iVbW‚b cjbV YVh eg^cX^eV^h k^ig^cZh eVgV V bÂ?h^XV YZ 7gVh†a^V! dcYZ V <GK ‚ hZY^YVYV! YZed^h YZ V XZcV YV XVe^iVa iZg h^Yd YZ^mVYV YZ aVYd eZaVh \gVcYZh \gVkVYdgVh Ă„ jb XdcigVhiZ Xdb dh Vcdh -%! Zb fjZ c d hZ edY^V [VaVg Yd gdX` cVX^dcVa hZb V ^cĂ“ j„cX^V YZ WVcYVh WgVh^a^ZchZh Xdbd dh EVgVaVbVh Yd HjXZhhd Z V AZ\^ d JgWVcV# BVh bZhbd ZhhVh \gVcYZh WVcYVh h‹ [dgVb VegZX^VYVh Zb 7gVh†a^V YZed^h YZ [VoZg hjXZhhd [dgV YV X^YVYZ# Cdhhd igVWVa]d Y{ ZheV d eVgV V XZcV adXVa ! Zmea^XV <jhiVkd! fjZ V\dgV k^hajbWgV jb [jijgd Zb fjZ V ZbegZhV iVbW‚b V_jYVg{ cdkdh Vgi^hiVh V hZ VYVeiVg |h Zm^\„cX^Vh YV cdkV ^cYÂ?hig^V bjh^XVa# 7dg\Zg ‚ d eg^bZ^gd Vgi^hiV [dgV YZ 7gVh†a^V Xdb fjZb V <GK igVWVa]V# H^cV^h YZ jbV ZmeVch d4 :hiVbdh d[ZgZXZcYd VaiZgcVi^kVh eVgV dh Vgi^hiVh # ,& D[ (GTPCPFQ &WCTVG

;dg Vaa i]Z hVbWV adkZgh dji i]ZgZ! CdkZbWZg Wg^c\h \ddY cZlh l^i] 9^d\d Cd\jZ^gVÉh Ă’ ghi ZkZg AdcYdc XdcXZgi# I]Z 7gVh^a^Vc h^c\Zg! hdc d[ XZaZWgViZY Vgi^hi ?d d Cd\jZ^gV! \gZl je a^hiZc^c\ id hVbWV VcY \d^c\ id XdcXZgih! VcY lZci dc id WZXdbZ dcZ d[ i]Z bdhi egdb^h^c\ hVbW^hiVh hVbWV bjh^X^Vch d[ ]^h \ZcZgVi^dc# L^i] hdc\h i]Vi gVc\Z [gdb hVbWV YZ gV^o id hadlZg X]dgd ijcZh! 9^d\d VeeZVah id Y^[[ZgZci V\Z \gdjeh VcY ]Vh WZZc \Vi]Zg^c\ [Vch Vaa dkZg# =Z Vahd lg^iZh hVbWVh"ZcgZYd XVgc^kVa i]ZbZ"hdc\h [dg ]^h bjX]"adkZY hVbWV hX]dda EdgiZaV VcY ^c '%%.! i]Z h^c\Zg lVh XgdlcZY [djg"i^bZh X]Vbe^dc [dg ]^h Xdbedh^i^dc! ]Vk^c\ gZXZ^kZY ide bVg`h [gdb i]Z _jY\Zh [dg ]^h hdc\h ^c Wdi] i]Z '%%, VcY '%%- eVgVYZh# I]^h nZVg! ]Z Vahd ldc i]Z Ăˆ7Zhi BE7 6aWjbÉ VlVgY [gdb BIK 7gVh^a! [dg ĂˆIÂ? [VoZcYd V b^c]V eVgiZÉ# >c CdkZbWZg! 9^d\d ^h gjcc^c\ [dg Ăˆ7Zhi HVbWV 6aWjbÉ Vi i]Z AVi^c <gVbbnh# 6cY id i]^c` i]Vi ]^h a^[Z XdjaY ]VkZ WZZc XdbeaZiZan Y^[[ZgZci# =^h ^c^i^Va Vhe^gVi^dc lVh id WZ V [ddiWVaaZg! ]Vk^c\ ZkZc eaVnZY [dg hbVaa iZVbh! Wji V `cZZ ^c_jgn idd` ]^b d[[ i]Z e^iX] VcY dcid i]Z hiV\Z [dg \ddY# AjX`n [dg i]Z VjY^ZcXZh! ^[ cdi [dg [ddin [Vch# I]Z igVX`a^hi [dg i]Z eZg[dgbVcXZ Vi <jVcVWVgV l^aa ^cXajYZ hVbWV XaVhh^Xh Vh lZaa Vh i]Z gZeZgid^gZ [gdb Wdi] ]^h VaWjbh Ăˆ9^d\d Cd\jZ^gV 6d K^kdÉ [gdb '%%, VcY ĂˆIÂ? [VoZcYd V b^c]V eVgiZÉ! gZaZVhZY aVhi nZVg! ^c l]^X] ]Z egZhZciZY dg^\^cVa hdc\h XdbedhZY Wn ]^bhZa[ VcY Vahd Wn BE7 Vgi^hih Vh 8]^Xd 7jVgfjZ! >kVc A^ch! 6ga^cYd 8gjo!VcY di]Zgh# 9^d\d Cd\jZ^gV &hi Cdk! —&% <jVcVWVgV EVg`Zg HigZZi " L8'7 %'% ,')' -+% ™ \jVcVWVgV#Xd#j`

E>8IJG: 7N <JID 8DHI6

URKEGU

WB;ŠY¢ ?¢CV¢D@

I=: IDE G:A:6H:H D; I=: BDCI=

presebre 6A:M @GN<>:G 8G6BB:9

=Vk^c\ WZZc V `Zn Ă’ \jgZ ^c i]Z jcYZg\gdjcY bjh^X hXZcZ ^c 7jZcdh 6^gZh [dg dkZg V YZXVYZ l^i] hZkZgVa VaWjbh jcYZg ]^h WZai 6mZa @gn\^Zg Ă’ cVaan \Zih :jgdeZVc gZaZVhZ [dg i]^h Wg^aa^Vci cZl VaWjb XdjgiZhn d[ 8gVbbZY 9^hXh# 6cY ndj XVc hZZ l]n i]^h XZaZWgViZY aVWZa i]Vi heZX^Va^hZh ^c VaiZgcVi^kZ bjh^X [gdb VgdjcY i]Z ldgaY ]VkZ eji i]Z^g [V^i] ^c 6mZa# I]Z VaWjb ^h edh^i^kZan Wjghi^c\ l^i] XgZVi^k^in lZVk^c\ ^c AVi^c 6bZg^XVc [da`adg^X ZaZbZcih l^i] ZaZXigdc^X hdjcYh! V \ZcgZ h]^[i^c\ dejh [gdb Hjg[ GdX` id <nehn WgVhh! :aZXigd 8jbW^V VcY ZkZc 6bVodc^Vc hinaZ 7ajZ\gVhh dc i]Z WZ\j^a^c\ hiVcYdji igVX` HZgeZciZV :a IgZc edhh^Wan V a^iiaZ d[[ i]Z lVaa [dg XZgiV^c iVhiZh Wji jcYdjWiVWan V h^\c^Ă’ XVci VX]Z^kZbZci# 7N 86A ?69:G

\gZVi cZl egdb^hZh d[ 7gVh^a^Vc bjh^X l]Zc i]Zn gZaZVhZY i]Z^g VaWjb ĂˆCVYVYZcdkdÉ Cdi]^c\cZl # I]Z^g hZXdcY gZaZVhZ! Ăˆ=dbZb":hejbVÉ ;dVb BVc ! Xd^cX^YZY l^i] V igdjWaZY eZg^dY [dg i]Z WVcY! l]^X] ^ckdakZY i]Z jci^bZan YZVi] d[ dcZ d[ i]Z^g bZbWZgh! GV[VZa IdggZh! ^c '%%+ VcY i]Z Zm^i d[ Vcdi]Zg! BVgXZad 8VbeZad! ^c '%%-# Ăˆ6b^\d Yd IZbedÉ ;g^ZcY d[ I^bZ ! gZaZVhZY aVhi ?jcZ ejih Vc ZcY id i]^h eZg^dY VcY gZkZVah V hdjcY i]Vi ^h aZhh gddiZY ^c EdejaVg 7gVh^a^Vc Bjh^X VcY bdgZ ^c ede Ă„ ^c l]^X] ^i ^h edhh^WaZ id hZZ ^cĂ“ jZcXZh [gdb i]Z 7g^i^h] WVcY =^\] AaVbVh! dcZ d[ BdbWd_‹Â&#x;h bV^c ^che^gVi^dch# L^i] i]^h VaWjb i]Z WVcY ^h ]ZVY^c\ idlVgYh V bdgZ bVijgZ eVi]! VcY ^[ i]^h Ă’ ghi dcZ YdZhcÉi X]Vgb ndj `ZZe Vc ZnZ dc i]Zb Vh i]Zn egdb^hZ \gZVi hij[[ [dg i]Z [jijgZ#

LDGA9 K>AA6<: $ =6GBDC>6 BJC9>

BDB7D?â IG6IDG:

BdbWd_‹! V Cdgi] :VhiZgc WVcY [gdb i]Z hiViZ d[ GZX^[Z! ZmeadYZY dcid i]Z hXZcZ ^c '%%) Vh dcZ d[ i]Z

'- ,WPING&TWOU D8ID7:G '%&%

6cV BdjgV WZVih ]Zg dlc eZghdcVa WZhi l^i] AZkV"bZ Vdh ;VYdh IV`Z BZ id i]Z ;VYdh # =Zg aVhi gZaZVhZ EVgV VaZb YV HVjYVYZ '%%, Xjab^cViZY l^i] V Gdaa^c\ HidcZh YjZi! VcY heZV`^c\ d[ i]Z aZ\ZcYVgn XgZVidgh d[ :m^aZ dc bV^c HigZZi ! [dg i]dhZ l]d VgZ jc[Vb^a^Vg l^i] i]Z [da`adg^X Edgij\jZhZ \ZcgZ! ;VYd lVh Wg^aa^Vcian YZhXg^WZY Wn B^X` ?V\\Zg Vh i]Z

C6H8:CI:

CVhXZciZÉh 7Z\^ccZgh <j^YZ hZg^Zh ]Vh WZZc gZk^iVa^hZY d[ aViZ Ä i]Z^g oZ^i\Z^hin :aZXigd Hl^c\ Xdbe VcY i]^h i]gZZ 89 \j^YZ id 8jbW^V VgZ Wdi] ^cY^XVi^dch i]Z aVWZa ^h `ZZe^c\ Vc ZnZ dc l]ViÉh ]di NdjÉY WZ ]VgY egZhhZY id Vkd^Y i]Z Igde^XVa bjh^X Xdbe^aVi^dch d[ aViZ! Wji ^[ ndjÉkZ cdi XVj\]i i]Z 8jbW^V Wj\ nZi i]Zc ]ZgZÉh egdWVWan V \ddY hiVgi^c\ ed^ci# Ndj XVcÉi gZVaan \d lgdc\ l^i] i]Z XaVhh^Xh dc 89& l]Zc ndjÉkZ \di VXXZhh id i]Z \daYb^cZ d[ bjh^X i]Vi ^h i]Z 9^hXdh ;jZciZh aVWZa# 89' d[ XdciZbedgVgn igVX`h ^h Vahd V `^aaZg!

7N H6H=6 HI:E=:CHDC

Hina^h] VcY ZcZg\Zi^X! ;D7 igVXZh i]Z hdjcY Zkdaji^dc d[ 7V^aZ ;jc` " i]Z WVhh"]ZVkn g]ni]b i]Vi ]Vh WZXdbZ hnbWda^X d[ [VkZaV a^[Z ^c G^d# ;gdb WZ^c\ V il^c`aZ ^c i]Z ZnZ d[ B^Vb^ 7Vhh id egZhZci" YVn hjeZghiVg 9?h0 i]Z Y^\^iVa gZkdaji^dc d[ i]Z hajbh ]Vh bVYZ [dg dcZ d[ i]Z bdhi ZmX^i^c\ VcY XdcigdkZgh^Va hjWXjaijgZh ^c i]Z ldgaY# 6cY l]^aZ bVcn VgZ fj^X` id Y^hb^hh i]Z \ZcgZ Vh igVh] dl^c\ id XZgiV^c ang^XVa XdciZci ! ;D7 gZ[gZh]^c\an WneVhhZh i]Z jhjVa bdgVa Vg\jbZcih VcY ^chiZVY Vaadlh ;jc` " VcY i]Z X]VgVXiZgh l]d bV`Z ^i " id h]^cZ ^c i]Z^g dlc g^\]i# I]Z egd_ZXi lVh V ijbjaijdjh hZa["[jcYZY aVWdjg d[ adkZ! iV`^c\ XgZVidgh LZhaZn 9^ead EZcio VcY AZVcYgd =7A cZVgan i]gZZ nZVgh id XdbeaZiZ! VcY ^c i]Z ldgYh d[ 9^ead ]^bhZa[0 ZkZgni]^c\ i]Vi XdjaY

quantic presents: tropical funk experience C6H8:CI:

valeu5 years of man

B69 9:8:CI

K6G>DJH 6GI>HIH

\d lgdc\! Y^Y \d lgdc\ # =dlZkZg! [Vch l^aa `cdl i]Vi i]^h ^h V Ă’ ab dcan ]Z XdjaY ]VkZ XdcXZ^kZY jh^c\ ]^h gdaZ Vh egdYjXZg! 9? VcY ]jbVc^iVg^Vc id bVm^bjb Z[[ZXi# 6h V gZhjai! i]Z Ă’ ab ^h " a^`Z ;jc` ^ihZa[ " V bjh^XVa idjg YZ [dgXZ# @ZZe ndjg ZnZh VcY ZVgh eZZaZY [dg cZlh d[ V AdcYdc aVjcX] hXgZZc^c\ hddc#

7N 86A ?69:G

favela on blast

beginners guide to cumbia leva-me aos ados

;gdb i]Z 8]^aZVc \gdje 8]^Xd Igj_^aad id IZmVhÉ <gjed ;VciVhbV VcY eaZcin bdgZ 8dadbW^Vc ]^ih# 89(Éh [jijgZ hZaZXi^dc ^h ha^\]ian Y^hVeed^ci^c\ Wji eVgian WZXVjhZ bdhi d[ i]Z XjggZci [gZh]Zhi WZVih VgZ WddiaZ\h! d[[ i]Z gVYVg VcY egZhjbVWan ]VgY id a^XZchZ 7ji 9ZVi][VXZÉh YjWhiZe iV`Z dc BZm^XVc >chi^ijiZ d[ HdjcY Ò c^h]Zh i]Z Y^hX d[[ ^c Ò cZ ]ZVkn WVhh hinaZ

7N =J<D H6AK6I:GG6

7N 6C9Gw 9: DA>K:>G6

6C6 BDJG6

amigo do tempo

Edgij\jZhZ WajZh # I]dj\] ^ih dkZgg^Y^c\ VjgV d[ igV\ZYn ^h eZg]Veh bdgZ V`^c id deZgV! Yjhi^c\ bn Y^Xi^dcVgn >Éb ^cXVeVWaZ d[ Ò cY^c\ V WZiiZg VcVad\n! I]Z HidcZh WZ^c\ V[iZg Vaa V igVchkZghVa gZegZhZciVi^dc d[ 6bZg^XVc bjh^X# L^i] ]Zg WZVji^[ja k^hXZgVa ]nbch BdjgV hiZeh ^cid i]Z a^bZa^\]i id XaV^b ]Zg eaVXZ Vh V gVl! XaVhh^X! WZaadl^c\ ;VY^hiV d[ i]Z bVhhZh# 6cV ^h V eZXja^Vg hiVg! gZ[ji^c\ XdciZbedgVgn ede VcY dei^c\ id XVggn i]Z ]Zg^iV\Z d[ V Xdjcign! V hiVijh XdcÒ gbZY l^i] i]^h nZVgÉh eZg[dgbVcXZ Vadc\h^YZ cdcZ di]Zg i]Vc Eg^cXZ# LZaXdbZ 6cV! VcY BVg^oV/ ndj VgZ cd adc\Zg VadcZ#

recordings B6C G:8DG9>C<H

Id XZaZWgViZ i]Z^g Ò kZ nZVg Vcc^kZghVgn BVc GZXdgY^c\h aVjcX] KVaZj! V Xdbe^aVi^dc d[ WVc\^c\ igde^XVa WVhh Vci]Zbh VcY ZmXajh^kZ gZb^mZh [gdb i]Z^g gdhiZg d[ iVaZciZY Vgi^hih# >i `^X`h d[[ l^i] 7gVh^a^Vc WV^aZ [jc` ^c i]Z Y^hi^cXi^kZ kdXVah d[ X]^aY gVeeZg B8 LZhaZn dc Da^kZg h HjW^j! 9ZhXZj VcY i]Z hncXdeViZY eZgXjhh^dc d[ i]Z iVbWdgo d dc Cdk^c]V 9d 7gVh^a [gdb 7ZlVgZ Bdidge^iX]# 6 higZV` d[ 6c\daVc `jYjgd ^cÓ jZcXZ ^h [djcY ^c i]Z Ygjbh d[ hZkZgVa igVX`h ^cXajY^c\ OjajV^ga^cZh Wn 7Zgi Dc 7ZVih! VcY bZadY^X Hdji] 6[g^XVc `lV^id ZaZXigd g^[[h VgZ aVXZY dkZg igVX`h hjX] Vh HZ^_^ h 7Vhha^eh # 6cY V iZX]cd WgZ\V gZb^m d[ HdXV 6a^ 7VWV Wn 8gdd`Zgh [gdb ?d d 7gVh^a VcY V [g^ZcYan XjbW^V cjbWZg [gdb >hV <I \^kZ a^\]i gZa^Z[# 6 bjhi ]VkZ 7N ?6B:H =JGG:AA

FjVci^X egZhZcih V igjan ^begZhh^kZ XdaaZXi^dc d[ [jc` ]ZgZ# 9Z[ian YVgi^c\ WZilZZc 8dadbW^V VcY EVcVbV Vh FjVci^X XaZVgan ]Vh! XgViZ Y^\\^c\ Vaa i]Z lVn! lZ ZmeZg^ZcXZ i]Z [jaa gVc\Z d[ i]Z [jc` heZXigjb! Vaa ^cÓ ZXiZY l^i] i]Z igde^XVa ZcZg\n i]Z ild Xdjcig^Zh VgZ [VbZY [dg# I]Z EVcVbVc^Vc [jc` ]ZgZ! Wdgc Vadc\h^YZ V ]ZVkn JH b^a^iVgn egZhZcXZ! ^cXajYZh i]Z hlZZi hdjcYh d[ I]Z Hdja ;VciVhi^Xh VcY i]Z YZZe WVhh \gddkZ d[ i]Z Y^hi^cXian CZl DgaZVch [jc`"^cÓ jZcXZY BVjg^X^d Hb^i]# 8dadbW^V gZXaV^bh i]Z X]^X]V Xgdlc [gdb i]Z 6cYZh ^c i]Z [dgb d[ i]Z egda^Ò X 9^hXdh ;jZciZh [Vkdjg^iZ VcY BVcj 8]Vd"hVbeaZY 6[gdhdjcY# 8dadbW^V Vahd gZegZhZcih l^i] hdbZ ZmXZaaZci 6[gd" [jc` ^c Hdc EVaZcfjZ VcY i]Z Ydlcg^\]i Y^gin AV 7VcYV 6[g^XVcV# 6 aVi^c [jc` dYnhhZn 7N 6A:M =6C9H

BdbWd_‹/ 7gVh^a h EdlZg GVc\Zgh

01 <S aU¢ :<;aU

6;GD8J7>HB " LDGA9 8>G8J>I

6cnWdYn `cdl i]Z XdaaZXi^kZ cdjc [dg \Zc^jhZh 4 DC I=: LDGA9 8>G8J>I

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

7B;49¢ @ a<= " <;96;2 36;1@ '$ XecXWo r [b ]k_dY^e l_c[e di\m ($ @kijWc[dj[ r CecXe` Ifej_\o

Cd adc\ cfjd &..+! jb egd_Zid [d^ XdcXZW^Yd XVhVcYd V Za^iZ bjh^XVa YZ BVa^ Xdb d bZa]dg fjZ 8jWV i^c]V V d[ZgZXZg# Edg gVo Zh YZhXdc]ZX^YVh! dh b h^Xdh Yd BVa^ cjcXV X]Z\VgVb | 8jWV Z! Xdbd VaiZgcVi^kV! jb {aWjb ejgVbZciZ XjWVcd [d^ egdYjo^Yd# D gZhjaiVYd [d^ 7jZcV K^hiV HdX^Va 8ajW Z d gZhid ]^hi g^V# 6kVcXZ Vi '%&% Z V ^YZ^V dg^\^cVa Ò cVabZciZ hZ idgcdj gZVa^YVYZ# 9^gZid YV Û[g^XV! 7VhhZ`dj @djnViZ! 9_Za^bVYn Idjc`VgV! aZcYV YV \j^iVggV Z d a YZg dg^\^cVa YV GV^a 7VcY! Z IdjbVc^ 9^VWVi # 9Z 8jWV! eVgiZ ^ciZ\gVciZ Yd 7jZcV K^hiV! :a^VYZh DX]dV Z hjV WVcYV <gjed EVig^V# D gZhjaiVYd4 7Zb kVaZj V eZcV ZheZgVg# 6 [jh d Yd hdc XjWVcd Z \jV_^gV Xdb d WajZh \g^di Yd BVa^ ZcXdcigV eZg[Z^iV ]Vgbdc^V# 9Z XVc Zh [daXa g^XVh igVY^X^dcV^h V \gVcYZh ^chigjbZciV^h! ZaZ gZVabZciZ WZad! ^che^gVX^dcVa! hji^a Z Zbdi^kd# =^i XZgid eVgV '%&%! V Xdci^cjV d eZg[Z^iV eVgV d {aWjb YZ ldgaY bjh^X bV^h kZcY^Yd YZ idYdh dh iZbedh# K{ _{ XdbegVg# ,& 6;GD8J7>HB K6G>DJH 6GI>HIH LdgaY 8^gXj^i

)$ I[hf[dj[W ;b Jh[d r 7b[n Aho]_[h Ifej_\o *$ Ikcc[hj_c[ Ekh B[W]k[ r XWX[" j[hheh +$ Zh[ [d YkcX_W r GkWdj_Y coifWY[

E>8IJG: 7N 8=G>HI>C6 ?6HE6GH

seu jorge

8><6G:II:H 6A8=:BN

(% ,WPING&TWOU D8ID7:G '%&%

music special

YQTFU D[ ,WNKCPQ <CRRKC RKEVWTGU D[ 'FWCTFQ <CRRKC

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

:B :CIG:K>HI6 :M8AJH>K6! H:J ?DG<: ;6A6 9: EDAÞI>86! 9: BDG6G CDH :J6 : 6K>H6 FJ: D BJC9D :HIÛ 9: DA=D CD 7G6H>A! :HE:G6C9D CDK>969:H

“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!”.

Æ8aVhhZ b Y^V VaiV Ç! Wg^cXV HZj ?dg\Z fjVcYd [Vad fjZ ZhhV ZY^ d YV ?jc\aZ9gjbh c d iZg{ VeZcVh ZaZ cV XVeV! bVh h^b ÆZaZ! YjVh kZoZhÇ# 9^gZid YZ hjV XVhV Zb H d EVjad! k^V H`neZ! jb YZ hZjh bZ^dh YZ Xdbjc^XV d egZ[Zg^Ydh! d Vidg YZ 8^YVYZ YZ 9Zjh [Vadj hdWgZ V cdkV ijgc fjZ igVo V AdcYgZh cV [dgbV YZ 6abVo! egd_Zid YZ XdkZgh Xdb ^ciZ\gVciZh Yd CV d OjbW^! jbV YVh WVcYVh bV^h ^bedgiVciZh YV b h^XV WgVh^aZ^gV Ydh Vcdh .%# ?dg\Z VegdkZ^idj d eVed Z! Xdbd jbV bZigVa]VYdgV! Y^hXjghdj hdWgZ eda i^XV! XgZhX^bZcid ZXdc b^Xd Z ZYjXV d! X^iVcYd [Vidh Z Y^heVgVcYd de^c^ Zh [dgiZh# AZ^idg {k^Yd! ?dg\Z fjdiV c bZgdh! VjidgZh! eZhfj^hVh Z! ^che^gVYd eZaVh ZaZ^ Zh cd 7gVh^a! Vi Vgg^hXV jbV ZcigVYV cV eda i^XV# ÆHZ Zj bZ XVcY^iVYVg! iZc]d XZgiZoV fjZ \Vc]d Ç! Y^hhZ Zb idb YZ Wg^cXVYZ^gV fjZ Vdh edjXdh edYZ XdbZ Vg V hZ igVch[dgbVg Zb gZVa^YVYZ# BVh VciZh Y^hhd! jbV eVjhV cdh :J6# >che^gVYd eZaV gZXZciZg ijgc kZ_V bVi g^V ZheZX^Va cV e{\^cV (- ! ?dg\Z Y^hhZ ZhiVg YZ bjYVc V eVgV Adh 6c\ZaZh! dcYZ fjZg YVg Vh [^a]Vh d fjZ c d iZkZ/ WdV ZYjXV d# 9jgVciZ d eVed YZ bV^h YZ jbV ]dgV! ?dg\Z [jbdj Yd^h X^\Vggdh Va b YZ jb djigd fjZ c d eVgZX^V WZb jb X^\Vggd ! i^gdj V XVb^hV! VWg^j V edgiV eVgV d eVgXZg^d Eje^aad ZcigVg cd fjVgid! [Vadj YV ^c[}cX^V Z Y^hhZ ZhiVg egZeVgVYd egV kdaiVg egV GdjcY]djhZ/ ÆHZ^ fjZ Zj kdj bViVg dh ^c\aZhZh YZ ^ckZ_V Xdb ZhhZ h]dl! d DVh^h kV^ hZ gVh\Vg idYd Ç :cigZk^hiV VeZcVh Zb ^c\a h

DJIJ7GD '%&% ,WPING&TWOU (&

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?

NDJ 9DCÉI :ME:8I 6 G:KDAJI>DC ;GDB :C<A6C9 7JI ;GDB 7G6H>A :K:GNDC: 9D:H

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

music special

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

> 86CÉI IDA:G6I: I=: 86C9>96IJG: D; I>G>G>86 ### >; > HIDD9 ;DG :A:8I>DC# >ÉB HJG: >É9 L>C

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.

(+ ,WPING&TWOU D8ID7:G '%&%

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

6B><D 9: ADC<6 96I6 96 ?JC<A:! ;:GC6C9D IJ76GÀD GD9DJ DH :J6 8DB H:J ?DG<: : 6AB6O

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. ,&

D hdc]d YZ fjVhZ idYd ijg^hiV jb Y^V eZgXdggZg V 6b g^XV Yd CdgiZ YZ edciV V edciV# FjVcYd k{g^dh Vb^\dh ZcXVgVb V gdVY"ig^e _jcidh! V k^V\Zb edYZ hZgk^g Xdbd ZmZgX X^d YZ Vjid YZhXdWZgiV! Xdbd iVbW b edYZ [jcX^dcVg eVgV gZ[dg Vg dh aV dh YZ Vb^oVYZ# Dj edYZ hZg jbV XVi{higd[Z/ V Xdck^k cX^V Y^{g^V edYZ b^cVg V Vb^oVYZ Z V Y^hX gY^V ^beZgVg# Cd XVhd Yd HZj ?dg\Z Z 6abVo! fjZ eZgXdgZggVb b^a]VgZh YZ fj^a bZigdh Zb jb b h ZcigZ _ja]d Z V\dhid YZhhZ Vcd ! XdbZ VcYd Zb B^Vb^! eVhhVcYd edg CdkV >dgfjZ! 8]^XV\d! Idgdcid! KVcXdjkZg! H d ;gVcX^hXd Z djigVh YZo X^YVYZh YZcigd YZ jb c^Wjh! V k^V\Zb [d^ h VaZ\g^V# Æ;d^ jbV k^V\Zb ^cXg kZaÇ! aZbWgV ?dg\Z# Æ6 Xdck^k cX^V cdh [Zo bj^id WZb# HZ Zj \Vc]VhhZ Y^c]Z^gd XVYV kZo fjZ YZ^ g^hVYV cd c^Wjh! ZhiVg^V g^Xd Ç ÆD ?dg\Z [d^ eVgXZ^gd Z \jZggZ^gdÇ! Y^o IjWVg d! fjZ ]{ bV^h YZ hZ^h Vcdh igVWVa]V Xdb ?dg\Z# Æ:aZ eVgi^X^edj YZ idYVh! ZhiVkV hZbegZ Xdb V \ZciZ Z hZb gZ\Va^Vh! Ydgb^V VeZgiVYd! _d\VkV k^YZd\VbZ! Xdb^V [Vhi"[ddY! [Vo^V e^VYVh! g^V! ijYd _jcidÇ# D c^Wjh! Y^k^Y^Yd edg && ]dbZch! i^c]V h jbV gZ\gV/ Æd c bZgd Yd^h ZgV egd^W^Yd Ç# IjWVg d VXdbeVc]dj idYdh dh eVhhdh YV ijgc ! ^cXajh^kZ dh ZchV^dh cd 7gVh^a! Z Xdb V hjV X}bZgV Yd ^E]dcZ gZ\^higdj ^cXg kZ^h bdbZcidh YZ WVhi^YdgZh Z YV ^ci^b^YVYZ YV ijgbV fjZ aZkdj d 6abVo eZaV 6b g^XV# :aZ XdciV d gZhjaiVYd V hZ\j^g# ,&

(- ,WPING&TWOU D8ID7:G '%&%

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.

DJIJ7GD '%&% ,WPING&TWOU (.

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.”

)% ,WPING&TWOU D8ID7:G '%&%

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.”

:K:GNDC: B:HH:9 6GDJC9! 6AA I=: HIG:HH L6H 76IIA:9 DJI EA6N>C< K>9:D <6B:H

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.”

DJIJ7GD '%&% ,WPING&TWOU )&

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!”

C

M

Y

CM

MY

CY

CMY

K

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!”

)' ,WPING&TWOU D8ID7:G '%&%

Top 10: Mondomix

THE

JEF'&

7G6H>A>6C

6GI>HIH 7N BDC9DB>M I=: LDGA9L>9: BJH>8 L:7H>I: G:K:6AH I:C 6GI>HIH 6C9 I:C 6A7JBH I=6I NDJ H=DJA9 C:K:G A:6K: =DB: L>I=DJI

TIM MAIA >iÉh V bnhiZgn l]n I^b BV^V! dcZ d[ i]Z bdhi ^cXgZY^WaZ 7gVh^a^Vc hdja h^c\Zgh d[ Vaa i^bZ VcY V iVa^hbVc^X Xjai ^Xdc Vi ]dbZ! ^h cdi bdgZ l^YZan `cdlc# =Z Y^ZY V\ZY ** V[iZg V a^[Z d[ iZX]c^Xdadg ZmXZhh# I]^h VaWjb lVh dcZ d[ ild AEh gZXdgYZY Yjg^c\ ]^h GVX^dcVa eZg^dY " ]^h ^bbZgh^dc ^cid V Xjai gZa^\^dc i]Vi XaV^bZY ]jbVc^inÉh hVakVi^dc aVn ^c djiZg heVXZ# I]Z ang^Xh VgZ V hdja"h]gZYY^c\ Xgn id _d^c je# :e^X VcY ZhhZci^Va# GZXdbbZcYZY VaWjb/ GVX^dcVa Kda# & HZgdbV$IgVbV

SEU JORGE HZj ?dg\Z ZmjYZh V gVgZ! Z[[dgiaZhh X]Vg^hbV dc hXgZZc VcY dc hiV\Z# 6h @cdX`dji CZY ^c i]Z bdk^Z 8^in d[ <dY ]Z WgZZoZY ^cid ldgaYl^YZ XdchX^djhcZhh# 6cY Vh V h^c\Zg! l^i] i]Vi YZZe! bZai^c\ WVg^idcZ! ]Z ]Vh WZXdbZ dcZ d[ 7gVh^aÉh bdhi XZaZWgViZY Vgi^hih# L]Zi]Zg ^iÉh hig^eeZY"Ydlc hVbWV! igde^XVa WajZh! enhX]"gdX` dg XdkZgh ZkZgndcZ [gdb :ak^h id Gdn 6nZgh VcY 9Vk^Y 7dl^Z ! HZj ?dg\ZÉh hdjcY ^h hdja[ja VcY XdbeZaa^c\# GZXdbbZcYZY VaWjb/ 8gj ;aV ;aj$CV kZ

)) ,WPING&TWOU D8ID7:G '%&%

CHICO SCIENCE & NAÇÃO ZUMBI 7ddb >c i]Z &..%h i]Zn a^i V [jhZ ^c i]Z^g ]dbZidlc d[ GZX^[Z Wn b^m^c\ Cdgi]":VhiZgc gddih g]ni]bh bVgVXVij VcY XdXd l^i] ]^e"]de! gdX` VcY edlZg" id"i]Z"eZdeaZ eda^i^Xh# I]Z^g ^cXZcY^Vgn BVc\jZWZVi hdjcY YncVb^iZY 7gVh^aÉh cdi^dc d[ ^ih dlc bjh^XVa [jijgZ# 9Zhe^iZ 8]^Xd HX^ZcXZÉh igV\^X ZVgan YZVi] ^c &..,! CO gZbV^c V aZ\ZcYVgn idjX]"hidcZ# GZXdbbZcYZY VaWjb/ 9V AVbV 6d 8Vdh Hdcn

music special

TOM ZÉ Igde^X{a^VÉh gVY^XVa djih^YZg! Idb O‚ ^h V \^Vci d[ bjh^XVa ZmeZg^bZciVi^dc! l^i] ]^h bVcigV Æ>Éb Xdc[jh^c\ ndj id Zca^\]iZc ndjÇ# <gdl^c\ je ^c i]Z WgjiVaan eddg WVX`aVcYh d[ 7V]^V! ]^h adkZ d[ ^begdk^hVi^dc XVc WZ igVXZY WVX` id i]Z Cdgi]":VhiÉh gjgVa edZih# JcYZg 7gVh^aÉh b^a^iVgn Y^XiVidgh]^e! O‚ WZXVbZ V bVhiZg d[ eda^i^XVa hVi^gZ! Wji ^iÉh i]Z h]ZZg ^ckZci^kZ [gZZYdb d[ ]^h ldg` i]Vi bV`Zh ]^b hjX] V bVhh^kZ XdjciZg"XjaijgVa ]Zgd# GZXdbbZcYZY VaWjb/ I]Z 7Zhi d[ Idb O‚ AjV`V 7de

XVedZ^gV! X^gXjh VcY i]ZVigZ egd_ZXih Vh V [dgXZ [dg X]Vc\Z! VcY ]VkZ WZXdbZ V XjaijgVa C<D d[ ^ciZgcVi^dcVa gZcdlc#

i]Z lVn 7gVh^a^Vc Vgi^hih XVc X]VccZa gddih VcY ZaZXigdc^XV id\Zi]Zg! VcY ]Z lVh V e^dcZZg# IdYVn ]Z ^h V hdj\]i"V[iZg egdYjXZg VcY gZb^mZg VcY dcZ d[ i]Z WZhi \adWVa 9?h dji i]ZgZ#

GZXdbbZcYZY 9K9/ ;VkZaV G^h^c\ Bg 7dc\d

GZXdbbZcYZY VaWjb/ 9? 9dadgZh DgX]ZhigV HVciV BVhhV Ă„ 8dcigVY^idg^d4 HiZgch

LA PUPUĂ‘A

LENINE

AV EjejŠV Yd 6bVodc^Vc ehnX]ZYZa^X hjg[ bjh^X l^i] I]Z 8aVh]! 9^X` 9VaZ VcY E^c` ;adnY i]gdlc ^c# I]Zn VgZ Vi i]Z ]ZVgi d[ 7ZaZbÉh Wjoo^c\ bjh^X hXZcZ! b^m^c\ gdX`! bZgZc\jZ! hjg[ bjh^X! VcY WgZ\V 7ZaZbÉh WjWWaZ\jb ede l^i] \j^iVggVYV " VcY i]Zn gdX`

I]Z Vaa"ZcXdbeVhh^c\ iV\ BE7 7gVh^a^Vc EdejaVg Bjh^X [djcY nZi Vcdi]Zg cZl Y^bZch^dc l^i] AZc^cZÉh h^cjdjh gdX`# =ZÉh ]j\Zan gZheZXiZY Vh V bVhiZg hdc\" lg^iZg Vh B^aidc CVhX^bZcid! HZg\^d BZcYZh VcY 9^dccZ LVgl^X` XVc iZaa ndj VcY dkZg V YZXVYZ h^cXZ ^i lVh gZaZVhZY! i]^h VaWjb hiVcYh Vh V XaVhh^X#

GZXdbbZcYZY VaWjb/ 6aa G^\]i EZcdhd C{ Bjh^X

GZXdbbZcYZY VaWjb/ CV EgZhh d 7B<

CAETANO VELOSO KASSIN – MORENO – DOMENICO + 2

DJ DOLORES BVh]^c\ EZgcVbWjXVc [da`adgZ Ä [gZkd ]dgch! bVgVXVij g]ni]bh VcY XdXd X]dgjhZh " ^cid YVcXZ WZVih! GZX^[ZÉh 9? 9dadgZh 6@6 =ZaYZg 6gV\ d Ze^idb^hZh

I]ZhZ i]gZZ egda^Ò X iVaZcih VgZ Vi i]Z Ze^XZcigZ d[ G^dÉh VkVci"\VgYZ# :c^\bVi^X WVhh^hi VcY egdYjXZg @Vhh^c! YgZVbn h^c\Zg"hdc\lg^iZg BdgZcd KZadhd VcY g]ni]b bVZhigd 9dbZc^Xd deZgViZ Vh V h]VeZ"h]^[i^c\ ig^d# IV`^c\ ijgch id aZVY i]Z WVcY! i]Zn Wg^c\ i]Z hlZZiZhi bZadY^Zh id Vc ZmeZg^bZciVa gZVab! bV`^c\ hZYjXi^kZ ede l^i] jcZmeZXiZY il^hih# DcZ d[ i]Zb ^h i]Z hdc d[ 8VZiVcd Wji i]Zn XdjaY Vaa WZ Idb O‚Éh d[[heg^c\# GZXdbbZcYZY VaWjb/ @Vhh^c ' ;jijg^hbd AjV`V 7de

AFROREGGAE <gjed 8jaijgVa 6[gdGZ\\VZ hZZ`h id d[[Zg ndjc\ eZdeaZ Vc VaiZgcVi^kZ id i]Z k^daZci Ygj\ igV[Ò X`^c\ \Vc\h ZcYZb^X VXgdhh i]Z G^dÉh [VkZaVh# I]Zn jhZ bjh^X! YVcXZ!

>iÉh ^bedhh^WaZ id dkZghiViZ ]^h ^bedgiVcXZ ^c i]Z ]^hidgn d[ bjh^X ^c 7gVh^a! l]ZgZ ]Z ^h gZkZgZY Vh Vc jcidjX]VWaZ hjeZghiVg# L^i] i]Vi di]Zg Xdadhhjh! <^aWZgid <^a! KZadhd lVh dcZ d[ i]Z `Zn Ò \jgZh WZ]^cY i]Z Igde^X{a^V bdkZbZci d[ i]Z aViZ +%h! ]ZgVaY^c\ edeÉh cZl hiVijh Vh V kZ]^XaZ [dg egdiZhi VcY hdX^Va X]Vc\Z# I]^h VaWjb lVh gZXdgYZY a^kZ Vi V XdcXZgi ^c G^b^c^! >iVan! ^c ]dcdjg d[ i]Z ;Zaa^c^h# I]Z eZg[dgbVcXZ ^h kZgn Zbdi^dcVa! Vabdhi kjacZgVWaZ! VcY hd bdk^c\# GZXdbbZcYZY VaWjb/ DbV\\^d 6 ;ZYZg^Xd Z <^ja^ZiiV Jc^kZghVa

DJIJ7GD '%&% ,WPING&TWOU )* E>8IJG: 7N <JID 8DHI6 $$ G:C6I6 9>AADC $$ ;Û7>D 7G6<6

music battle

9>9

BJH>8 BJH>8 9>: HELL, YES! THOMAS PAPPON , MUSIC JOURNALIST I]dbVh EVeedc ^h V gVY^d WgdVYXVhiZg! _djgcVa^hi VcY bjh^X^Vc# >c 7gVh^a ]Z ldg`ZY [dg i]Z gVY^d hiVi^dch d[ GZXdgY VcY 8jaijgV ^c H d EVjad! Vi i]Z bV\Vo^cZ 7>OO VcY i]Z bjh^X aVWZa Hi^aZiid# >c <ZgbVcn &..'".+ ! ]Z ldg`ZY Vi i]Z 89 hidgZh HVijgc VcY AjYl^\ 7ZX`! VcY h^cXZ &.., ]ZÉh ldg`ZY [dg 778 7gVh^a ^c AdcYdc# =ZÉh Vahd Xd"[djcYZg d[ i]Z WVcY ;Zaa^c^#

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. ,&

L>I=>C I=: >CI:GC6I>DC6A B6G@:I 7G6H>A>6C BJH>8 >H 6 B6G<>C6A 6HH:I

)+ ,WPING&TWOU D8ID7:G '%&%

music special issue

7G6H>A>6C

>C I=: ,%ÉH4 ABSOLUTELY NOT. JODY GILLETT, EDITOR OF MONDOMIX ?dYn <^aaZii ^h ZY^idg d[ dca^cZ bjh^X VcY XjaijgZ bV\Vo^cZ BdcYdb^m#Xdb :c\a^h] ZY^i^dc VcY V [gZZaVcXZ EG [dg ^ciZgcVi^dcVa Vgi^hih ^cXajY^c\ 7gVh^a^Vc bjh^X^Vch hjX] Vh 8‚j! DgfjZhigV >beZg^Va VcY HZj ?dg\Z# H]Z Vahd ldg`h Vh V XdchjaiVci l^i] 7B 6! i]Z 7gVh^a^Vc Bjh^X :medgi D[Ò XZ#

“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. ,&

I=:G: ?JHI >HCÉI 6 <:CG: L=>8= >H EDHH>7A: ID >CK:CI I=6I LDCÉI =6EE:C >C 7G6H>A

DJIJ7GD '%&% ,WPING&TWOU ),

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.

& $%$' ) &)! $'

!$0 $& ,$#( & '.! $&( ! , ( ! $0 0 # &$ !* $& -$0 )!$0 0 ) &)! $' -$0 )!$0 0 & $%$'

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

Flights weekly

Return fares from

/ / /

/

/

/ / / /

## &0 0 $&! 1'0 # 0 &! # 0($0 $)( 0 " & 0

o Brazil

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

!+( % $"

CIGPFC EJGEM QWV QWT EQORNGVG CPF WRFCVGF NKUVKPIU CV LWPINGFTWOUQPNKPG EQO

E6GIN

8DC8:GI

8=6G>IN

;>AB

I=:6IG:

:M=>7>I>DC

HEDGI

;:HI>K6A

<0A</2?

25th | monday 6ONBJI= 5 ?6OO 86;w

6th oct - 6th nov

>ckZcidgh d[ HVbWV 9d^Yd 8gVon HVbWV i]Z aZ\ZcYVgn 7gVh^a^Vc i]gZZ"e^ZXZ 6onbji] ]VkZ WZZc bV`^c\ _Voo"[jc` ^c[jhZY l^i] hVbWV VcY di]Zg igde^XVa g]ni]bh h^cXZ i]Z ZVgan ,%h#

B6G>AĂ?C: DA>K:G/ 86GC: K6A: Da^kZg jhZh BG> 8I hXVch id gZ^ckZci i]Z ]jbVc edgigV^i! ]Zg bZY^jb '9 Wji i]Z gZhjai gZVhhZbWaZY WdY^Zh bV\^XVaan (9! ^che^gZY Wn ]Zg i^bZ ^c G^d#

9ddgh ,eb! —&* VYk ?Voo 8V[Z! * EVg`lVn! 8VbYZc " CL& ,E< ?6OO86;:#8D#J@ ™ %'% ,+-- --..

Bdc Ă„ ;g^ &%Vb Ă„ *#(%eb! HVi &&Vb Ă„ &#(%eb 7ZVjm 6gih! '' 8dg` HigZZi " L&H (C6 7:6JM6GIHADC9DC#8D#J@ %'% ,)(, *,..

6th oct - 12th dec 6B6ODC>6 <Zi ^bbZghZY ^c i]Z bjai^bZY^V Zm]^W^i^dc 6bVodc^V! XZaZWgVi^c\ i]Z k^iVa^in d[ i]Z 6bVodc gV^c[dgZhi! V egd_ZXi Wn Vgi^hih AjXn VcY ?dg\Z DgiV# Bdc"Hjc &%Vb"*#(%eb! ;G:: CVijgVa =^hidgn BjhZjb! 8gdblZaa GdVY " HL, *79 C=B#68#J@ ™ %'% ,.)' *%%%

12th oct - 20th nov 7:6IG>O B>A=6O:H :M=>7 I]Z HiZe]Zc ;g^ZYbVc <VaaZgn ^h ]Veen id lZaXdbZ WVX` 7ZVig^o B^a]VoZh [dg ]Zg [djgi] hdad Zm]^W^i^dc Vi i]Z \VaaZgn! l^i] V XdaaZXi^dc d[ cZl eV^ci^c\h# IjZ";g^ &%Vb"+eb! HVi &&Vb"*eb! ;G:: HiZe]Zc ;g^ZYbVc <VaaZgn! '* DaY 7jga^c\idc Hi " L&H HI:E=:C;G>:9B6C<6AA:GN#8DB ™ %'% ,).) &)()

12th - 22nd )I= C6I>K: HE>G>I ;:HI>K6A ;^abh VcY eZg[dgbVcXZh [gdb 7gVh^a egdbdi^c\ i]Z kd^XZ VcY XjaijgZ d[ cVi^kZ eZdeaZh! Vaa i]ZbZY VgdjcY i]Z 6bVodc [dgZhi VcY ^ih ig^WZh# KVg^djh i^bZh eg^XZh! [Zhi^kVa eVhh —(* HD6H Jc^ d[ AdcYdc 6bcZhin >ciZgcVi^dcVa =G68 C6I>K:HE>G>I;DJC96I>DC#DG<

13 - 28 th

th

*)I= 7;> ADC9DC ;>AB ;:HI>K6A I]Z [Zhi^kVa gZijgch id h]dlXVhZ i]Z ldgaYÉh WZhi cZl Ò abh# I]^h nZVg! 7gVh^a^Vc d[[Zg^c\h ^cXajYZ LVhiZ AVcY! VWdji V egd_ZXi Wn K^` Bjc^o VcY G^d \VgWV\Z e^X`Zgh# KVg^djh i^bZh! adXVi^dch VcY eg^XZh 7;> kZcjZh AdcYdc X^cZbVh 7;>#DG<#J@$A;; ™ %'% ,.'- ('('

14th - 30th 8JAIJG:H=D8@ 5 EJG: :K>A HjgZan 7gVh^aÉh bdhi cdidg^djh jgWVc Vgi \VaaZgn! H d EVjadÉh 8]dfjZ 8jaijgVa egZhZcih ldg` Wn i]Z a^`Zh d[ 8Vgadh 9^Vh! 9Vc^Za BZa^b! BO@! CdkZ! E_diV! EgZhid! HeZid! OZo d! VcY I^i^ ;gZV`#

15th oct - 17th nov ;G:9:G>8D 8ÙB6G6 =^h Ò ghi hdad Zm]^W^i^dc ^c AdcYdc! l^i] egZk^djhan jchZZc ldg`h [gdb i]Z ]^h gZXZci gZhZVgX] ZmeZY^i^dc id 8]^cV! YdXjbZci^c\ i]Z Wj^ai Zck^gdcbZci d[ odd XV\Zh VcY VfjVg^jbh# IjZh " ;g^ &&Vb"+eb! HVi &&Vb"*eb! ;G:: <VaaZgn ('! (' <gZZc HigZZi " L&@ ,6I <6AA:GN('#DG<#J@ ™ %'% ,(.. .'-'

8AJ7 EDEDOJ96 =6AADL::C HE:8>6A GZh^YZci 9?h ?d d 7gVh^a VcY I]Z 7jbeh eajh heZX^Va \jZhi KVbVcdh egdk^YZ Vc ZXaZXi^X gVc\Z d[ \adWVa Wddinh]V`^c\ bjh^X! l^i] 7V^aZ ;jc` VcY 6[gd"7gVh^a^Vc"8Vg^WWZVc [VcXn YgZhh ,eb"&'Vb! —( W) .eb dg —* V[iZg ;VkZaV 8]^X! .&".( <gZVi :VhiZgc Hi " :8' (=O ;6K:A68=>8#8DB$ADC9DC ™ %'% ,+&( )''-

17 - 18 th

th

;<C2:/2?

9B8 LDGA9 9? 8=6BEH ( LdgaY 9? XdbeZi^i^dch Wg^c\^c\ id\Zi]Zg (% cVi^dch VcY &%% 9?h! ( id WZ XgdlcZY Vh LdgaY 8]Vbe^dch! \d VcY hZZ ^[ 7gVh^aÉh :g^X` ?Vn l^aa WZ dcZ# & YVn i^X`Zi —&* $ ' YVn i^X`Zi —'* @d`d! &6 8VbYZc =^\] HigZZi " CL& ,?: 9B89?8=6BEH#8DB

17th | sunday H:J ?DG<: 6AB6O <Zi gZVYn [dg i]Z WgVcY cZl hdjcY d[ 7gVh^a l]Zc i]Z XddaZhi bVc dc i]Z eaVcZi gZijgch id i]Z GdjcY]djhZ l^i] ]^h WgVcY cZl bViZg^Va VcY egd_ZXi! 6abVo# 9ddgh ,eb! —'' VYk GdjcY]djhZ! 8]Va` ;Vgb GdVY " CL& -:= 8DBDCD#8D#J@ ™ %-)) )-' -%%-

24th | sunday =DJH: E6GIN 7G6O>A 6 XZaZWgVi^dc d[ 6[gd"7gVh^a^Vc XjaijgZ [gdb 7V]^V! l^i] CViZbV! 6chZabd CZiid! :a^hVc\ZaV YV 7V]^V! 6WVYV 8VeZ^gV! :kZgVYd EZgZ^gV! 6YbV <B CZledgi! :ad^hV @ZaaZg! 9? 7ajZ# (eb"&'Vb! —- $ bZbWZgh —* 7ViiZghZV EVgin Gddbh! ,) 7ViiZghZV 7g^Y\Z GY " HL&& =DJH:E6GIN7G6O>A#8D#J@

25th | monday 69G>6C6 86A86C=DIID DcZ d[ i]Z \gZVi kd^XZh d[ 7gVh^a! 6Yg^VcV l^aa eaVn dcan ]Zg hZXdcY ZkZg AdcYdc h]dl! ĂˆIgdWVg CdkVÉ! ^c i]Z ^ci^bViZ hZii^c\ d[ i]Z Jc^dc 8]VeZa! [daadl^c\ V hdaY"dji YZWji aVhi nZVg#

&%VbÄ+eb YV^an dg Wn Veed^cibZci! ;G:: EjgZ :k^a <VaaZgn! &%- AZdcVgY Hi " :8'6 )G=

9ddgh ,eb! —&- Jc^dc 8]VeZa! 8dbeidc IZggVXZ! >ha^c\idc " C& 'JC

EJG::K>A8ADI=>C<#8DB ™ %'% ,,'. '-++

8DBDCD#8D#J@ ™ %-))) ,,& %%%

*% ,WPING&TWOU D8ID7:G '%&%

31st | sunday

1st - 7th A>;:B ;:HI>K6A L^i] hdjcYh [gdb i]Z ldgaY dkZg! i]Z AdcYdc >ciZgcVi^dcVa ;Zhi^kVa d[ :meadgVidgn Bjh^XÉh 'cY ZY^i^dc egZhZcih V gVgZ eZg[dgbVcXZ Wn 7gVh^a^Vc b^c^bVa^hi _Voo e^Vc^hi 7Zc_Vb^b IVjW`^c# 8V[‚ DID! @^c\h EaVXZ VcY Hi :i]ZaYgZYVÉh 8]jgX] KVg^djh kZcjZh! i^bZh VcY eg^XZh A>;:B#DG<#J@

1st | monday 9>D<D CD<J:>G6 H^c\Zg VcY hdc\lg^iZg [gdb Vc ZVgan V\Z! VcY hdc d[ XdbedhZg ?d d Cd\jZ^gV! 9^d\d ]Vh egdkZY ]^bhZa[ Vh dcZ d[ i]Z WZhi d[ ]^h \ZcZgVi^dc! l^i] ]^h YZWji 89 9K9 dji dc :B> ^c '%%,# ,#(%eb! —&%VYk <jVcVWVgV! EVg`Zg HigZZi " L8'7 *EL <J6C676G6#8D#J@ ™ %'% ,')' -+%%

2nd - 20th 76Aw 9: GJ6 7jghi^c\ l^i] XVgc^kVa he^g^i! i]Z ]^i 7gVh^a^Vc YVcXZ h]dl [jaa d[ ]^e"]de! 6[g^XVc YVcXZ! hVbWV VcY XVedZ^gV add`h hZi id lVgb V X]^aan CdkZbWZg l^i] Zm]^aVgVi^c\ g]ni]b VcY bdkZbZcih# KVg^djh YViZh VcY i^bZh! —&*")% EZVXdX` I]ZVigZ! Edgij\Va HigZZi! =daWdgc " L8'6 H69A:GHL:AAH#8DB ™ %-)) )&' )(%%

HEDCHDG:9 7N

D2289F

6th | saturday B6HI:GH C6I>DC EGD?:8I I]Z ร ghi ZY^i^dc Wg^c\h i]gZZ bVhiZgh VcY l^hYdb d[ IgVY^i^dcVa CVi^dch [gdb EZgcVbWjXd! l^i] hZb^cVgh VcY BVgVXVijYd BV[jV VcY BVgVXVij :higZaV Yd CdgiZ a^kZ# &'eb"&&#(%eb! kVg^djh eg^XZh ;VkZaV 8]^X! <gZVi :VhiZgc HigZZi " :8'6 (=O ;6K:A68=>8#8DB ย %'% ,+&( )''-

6th nov - 6th jan ;:A6 5 C6I>DC6A I=:6IG: 6 k^WgVci VcY l]daan jc^fjZ ]nWg^Y d[ YVcXZ! i]ZVigZ VcY bjh^X! ;:A6 ZmeadgZh i]Z ZmigVkV\Vci! YZXVYZci VcY gZWZaa^djh ldgaY d[ 6[gdWZVi aZ\ZcY ;ZaV 6c^`jaVed"@ji^ Vi i]Z Da^k^Zg I]ZVigZ# 'eb $ ,#(%eb dc Y^[[ZgZci YViZh! ย &%"ย )) CVi^dcVa I]ZVigZ! Hdji] 7Vc` ร H:& .EM C6I>DC6AI=:6IG:#DG<#J@ ย %'% ,)*' (%%%

9th - 13th 86H6 I=:6IG: ;:HI>K6A 86H6 XZaZWgViZh i]Z WZhi d[ XdciZbedgVgn AVi^c 6bZg^XVc i]ZVigZ l^i] dg^\^cVa h]dlh [gdb XdbeVc^Zh [gdb 6g\Zci^cV! 8dadbW^V! :a HVakVYdg VcY Jgj\jVn# KVg^djh YViZh VcY i^bZh! ย +"ย &' DkVa =djhZ I]ZVigZ! *'"*) @Zcc^c\idc DkVa " H:&& DK6A=DJH:#8DB ย %'% ,*-' %%-%

10 wednesday th

BDADIDK ?J@:7DM H>C<A: A6JC8= <ddY cZlh [gdb djg daY [g^ZcYh! ^iร h i]Z aVjcX] d[ i]Z^g ร ghi h^c\aZ! ร AV^Y id GZhiร ! V \ddY daY `cZZh je l^i] hjeedgi [gdb ?ZhhZ BdcgdZ VcY \jZhih I78# ,#(%eb " &Vb! ;G:: 8Vg\d! -( G^k^c\idc HigZZi " :8'6 (6N 86G<D"ADC9DC#8DB ย %'% ,,(. ())%

12th โ 21st

every 1st tuesday H6B76 9: <6;>:>G6 96C8: 8A6HH

,#(%eb! dcZ XaVhh ย +0 ild XaVhhZh ย .( ;ZZi :Vhi! &*% 7g^X` AVcZ " :& +FA .(;::I:6HI#8D#J@ ย %,.), )&% -*(

every tuesday >E6C:B6 H:HH>DCH

*eb! ;G:: <jVcVWVgV! EVg`Zg HigZZi " L8'7 *EL <J6C676G6#8D#J@ ย %'% ,')' -+%%

every tuesday A>K: BJH>8 8]ZX` dji i]Z WZhi VcY bdhi ^ccdkVi^kZ a^kZ VXih [gdb Vaa dkZg i]Z ldgaY# <jZhi 9? <adWVa b^m^c\ jci^a &Vb# -eb! ;G:: Bdbd @Zb^V 7Vg! '* =ZYYdc HigZZi " L& BNHE68:#8DB$A>K:6IBDBD

every wednesday H6B76 8>IN 8Ve^iVa Yd HVbWV eaVn^c\ gddihn hVbWV VcY 8]^Xd 8]V\Vh <Vร Z^gV 7gVh^a eaVn^c\ YVcXZ]Vaa hVbWV# ย * V[iZg .eb <jVcVWVgV! EVg`Zg HigZZi ร L8'7 *EL

>chigjbZciVa^hi VcY XdbedhZg @Vl GZ\^h aZVYh ]^h ig^d eaVn^c\ i]Z WZhi d[ BE7 7gVh^a^Vc ede Vi AdcYdcร h egZb^Zg _Voo kZcjZ#

19 | friday 7>< 8>IN HA::E AVhi nZVg &%% eZdeaZ WgVkZY i]Z XdaY! haZZe^c\ dji id gV^hZ dkZg ย &.` [dg i]Z 678 Igjhi# L^i] V hVbWV WVcY! [dggd XaVhh VcY V XVedZ^gV eZg[dgbVcXZ! ^iร h i^bZ id \Zi ^ckdakZY ,eb! ย &*% ^c hedchdgh]^e He^iVaร ZaYh BVg`Zi ร :& 678IGJHI#DG<#J@ %'% ,).) .())

-eb " 'Vb! ;G:: He^g^ijVa 7Vg! ) ;ZgY^cVcY HigZZi " CL& HE>G>IJ6A76G#8D#J@ ย %'%, )-* +,.&

every saturday 7G6H>A>6C 77F 6C9 96C8: A^kZ hVbWV [gdb ร Hd @Zb :]ร [gdb +eb " b^Yc^\]i! VcY V 7gVh^a^Vc hinaZ 77F [gdb (eb Vi I]Z Cdgi] EdaZ (eb " &'Vb I]Z Cdgi] EdaZ! Cdgi] EdaZ GdVY " L&% I=:CDGI="EDA:#8D#J@ ย %'% ,+'- -.,

every sunday GDDIB6HI:G 5 =DDI6C6CCNร H NZi Vcdi]Zg gZVhdc id kZcijgZ Hdji] d[ i]Z g^kZg! 7g^midcร h XddaZhi XajW ]dhih V [gZZ lZZ`an hZhh^dc ZVX] HjcYVn l^i] hdbZ VlZhdbZ LdgaY! AVi^c VcY 6[gd WZVih VcY a^kZ bjh^X# +eb " &Vb! a^kZ VXih -eb! ;G:: .* :[[gV GdVY! 7g^midc " HL' =DDI6C6CCN7G>MIDC#8D#J@

every sunday H6B76 LDG@H=DE HVbWV eZgXjhh^dc hZhh^dch Vi i]Z G]ni]b 8V[ย aZY Wn eZgXjhh^dc^hi VcY WVcYaZVYZg HVgV 9]^aadc#

,eb! ย &% ^chigjbZcih ^cXajYZY G]ni]b 8V[ย ! 6gX] +*! 8]Va` ;Vgb GY " CL& -6= I=:G=NI=B86;:#8DB

<J6C676G6#8D#J@ ย %'% ,')' -+%%

every thursday

th

8VbYZcร h 7gVh^a^Vc ]di hedi ]dhih V c^\]i d[ hdja! [jc`! Wdd\Vadd VcY 7gVh^a^Vc WZVih XdjgiZhn d[ 9? B{gX^d 8jhidY^d#

;ZVijg^c\ bjh^X [gdb 7gVh^a^Vc _Voo! BE7! WdhhV cdkV! X]dgd VcY ZkZc gddihn hVbWV"gdX`# Hde]^hi^XViZY! \ddY fjVa^in bjh^X#

I]Z ]^\]"XVa^WgZ bjh^XVa XZaZWgVi^dc ^cXajYZh V ) c^\]i gjc [gdb I]Z 8gZdaZ 8]d^g d[ 8jWV VcY eZg[dgbVcXZh [gdb 8]^Xd 8]V\Vh! 6[gd8jW^hb! AVi^c _Voo hZmiZi H}bVgV VcY 6Yg^Vcd 6YZlVaZ#

ADC9DC?6OO;:HI>K6A#DG<#J@

HE>G>IJ6A ;G>96NH

Dc i]Z ร ghi IjZhYVn d[ ZkZgn bdci] XdbZ Ydlc VcY X]ZX` dji i]Z a^kZ WViZg^V VcY _d^c ^c l^i] i]Z HVbWV YZ GdYV XaVhhZh#

ADC9DC ?6OO ;:HI>K6A

KVg^djh YViZh! i^bZh VcY eg^XZh >ccjbZgdjh kZcjZh VXgdhh AdcYdc

every friday

0ยก=<ยขV?ยก

HDGG>HD 7G6H>A

+eb! ;G:: WZ[dgZ .eb Gdcc^Zร h 7Vg! ), ;g^i] HigZZi " L&9 )=I GDCC>:H8DIIH#8D#J@ ย %'% ,)(. %,),

every thursday 76A696 L>I= 9? A>Bร D 5 <J6C676G6 9? YjZah Vh gZh^YZci A^b d YdZh WViiaZ l^i] Vcdi]Zg 9? ZVX] lZZ`! l^i] V a^kZ VXi! [gZZ hVbWV gdX` aZhhdch VcY XVedZ^gV [gdb <gjed 8dgY d YZ Djgd# ย * V[iZg .eb " -i]! &*i]! ''cY! '.i] 6eg^a <jVcVWVgV! EVg`Zg HigZZi ร L8'7 *EL <J6C676G6#8D#J@ ย %'% ,')' -+%%

I]Z WZadkZY YVcXZ$hedgi Xdch^YZgZY Vc Vgi [dgb Wn bVcn! XgdhhZY i]Z dXZVc VcY idYVn ^h eZg[dgbZY ^c i]Z J@ Wn hdbZ d[ i]Z WZhi 7gVh^a^Vc ร bZhigZhร VgdjcY# 6hhdX^Vi^dc d[ 8VedZ^gV 6#8#:#G# " Egd[Zhhdg GdYg^\d %,%*% %,(,(, egd[#gdYg^\d5VXZg"j`#Xdb

8dgY d YZ Djgd 8Vhfj^c]V $ EdcX^Vc^c]d %,,+* %&-&.& XYda#Xd#j`

@VWjaV BZhigZ 8Vga d %,.&( ..()*( ย `VWjaV#dg\

<gjed 6mย 8VedZ^gV BVgXjh 8VWZย V %,.(& ,,%&*( VmZXVXVedZ^gVj`#Xdb

6WVYV 8VedZ^gV BVc_Zg^Xd ย %,.), +%-()) VWVYV"j`#Xdb :Vhi AdcYdc 8VedZ^gV H^bdc 6i`^chdc %,,,. %(&',( XVedZ^gV"Vc\daV#Xd#j`

05208 :<?2 <;96;2

8VedZ^gV BjoZcoV J@ BVYZ^gV ย %,-*% )%(''& bVYZ^gV#bjoZcoV5\bV^a#Xdb 8VedZ^gV 6c\daV AdcYdc IdXV ย %,.%) %,*(+( XVedZ^gVadcYdc5 ]dibV^a#Xd#j`

?JC<A:9GJBH#DG<

DJIJ7GD '%&% ,WPING&TWOU *&

carnival routes

floating

crowd

YQTFU D[ #NGZ 4QDKPUQP EQWTVGU[ QH 5QPINKPGU RKEVWTG D[ 'FWCTFQ 2GNQUK

*' ,WPING&TWOU ,WPING&TWOU ,WPING&TWOU D8ID7:G '%&% B6N '%&% ?JAN '%%,

IN THE

destination

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

*) ,WPING&TWOU D8ID7:G '%&%

E>8IJG: 7N A:D J:=6G6 $$ H>AK>6 G:<>C6 $$ H:@JH=N

carnival routes CARNIVAL IN FOCUS

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.

*+ ,WPING&TWOU D8ID7:G '%&%

;^a]dh YZ <VcY]n! Ig^d Za ig^Xd! >kZiZ HVc\Vad VcY DadYjb/ hnbWdah d[ 8Vgc^kVa ^c HVakVYdg

E>8IJG: 7N :9J6G9D E:ADH> $$ B6G8:A6 86E>IJ $$ IJG>HBD 76=>6

destination

BRASIL’S BIG CARNIVALS IN A NUTSHELL G:8>;: DA>C96

'

GETTING THERE & H6AK69DG

HĂ€D E6JAD

(

) G>D 9: ?6C:>GD

Hdc\a^cZh Bjh^X IgVkZa lll#hdc\a^cZh#Xd#j`$bjh^X"igVkZa ^h gjcc^c\ V iZc YVn il^c XVgc^kVa ig^e id HVakVYdg VcY H d EVjad WZilZZc BVgX] )i] VcY &(i] '%&&! aZY Wn Hdc\a^cZh lg^iZg VcY 7gVh^a^Vc bjh^X heZX^Va^hi! 6aZm GdW^chdc# 6aZm l^aa \^kZ ndj i]Z ^ch^YZ igVX` dc Wdi] XVgc^kVah! l^i] i]Z X]VcXZ cdi dcan id eVgi^X^eViZ Wji Vahd id ^bbZghZ ndjghZa[ ^c i]Z bjh^X VcY XjaijgVa hXZcZ Vi V ]dhi d[ eVgi^Zh VcY kZcjZh VgdjcY Wdi] X^i^Zh! ViiZcYZY dcan Wn adXVah VcY i]dhZ ^c i]Z `cdl# 6adc\h^YZ XVgc^kVa VXi^dc i]ZgZ l^aa WZ h^\]ihZZ^c\ ^c HVakVYdgÉh ldgaY ]Zg^iV\Z Xdadc^Va XZcigZ! XVedZ^gV VcY hjcWVi]^c\ dc hdbZ d[ 7gVh^aÉh bdhi WZVji^[ja WZVX]Zh! ig^eh id i]Z hVbWV hX]ddah i]ZbhZakZh ^c H d EVjad VcY \djgbZi Y^c^c\ ^c i]Z ÒcZhi gZhiVjgVcih ^c AVi^c 6bZg^XV# I]Z iZc YVn idjg eg^XZ ZmXa Ó^\]ih ^h —'!*). VcY ^cXajYZh . c^\]ih WZY WgZV`[Vhi Vi ( hiVg ]diZah ^c HVakVYdg VcY H d EVjad# ;dg bdgZ ^c[dgbVi^dc! k^h^i lll#hdc\a^cZh#Xd#j`$bjh^X"igVkZa dg XVaa %'% -*%* '*-' dg ZbV^a hdc\a^cZh5i]Z\gdjehXdbeVcn#Xdb Hdc\a^cZh Bjh^X IgVkZa idjgh VgZ deZgViZY Wn I]Z IV^adg"BVYZ <gdjeh 8dbeVcn# I]Z V^g ]da^YVn eVX`V\Zh VgZ 6IDA egdiZXiZY Wn i]Z 8^k^a 6k^Vi^dc 6ji]dg^in# 6IDA cjbWZg ^h .().# 6aa cdc"Ó^\]i ^cXajh^kZ eVX`V\Zh [dg J@ XjhidbZgh VgZ Vahd egdiZXiZY Wn V IDEE eda^Xn#

&

H6AK69DG

'

L=:G:/ Cdgi] :Vhi 7gVh^a

INE: D; 86GC>K6A/ HigZZi XVgc^kVa l^i] heZX^Va XdgYdcZY"d[[ VgZVh [dg eZdeaZ l^i] i^X`Zih#

INE: D; 86GC>K6A/ 6 igVY^i^dcVa higZZi XVgc^kVa ^c ild il^c Xdadc^Va X^i^Zh#

BJH>8/ EdjcY^c\! eZgXjhh^kZ 6[g^XVc" 7gVh^a^Vc V[dm‚ VcY X]ZZhn ZcZg\Zi^X Vm‚ bjh^X#

BJH>8/ BZhbZg^h^c\! ig^WVa bVgVXViÂ?! VcY [gVci^X [gZkd# EGDH/ I]Z bdhi igVY^i^dcVa d[ i]Z aVg\Z XVgc^kVah#

EGDH/ I]Z ejahVi^c\ ]ZVgi d[ 6[g^XVc" 7gVh^a#

(

G:8>;: DA>C96

L=:G:/ Cdgi] :Vhi 7gVh^a

HĂ€D E6JAD

)

G>D 9: ?6C:>GD

L=:G:/ Hdji] :VhiZgc 7gVh^a

L=:G:/ Hdji] :VhiZgc 7gVh^a

INE: D; 86GC>K6A/ EZg[dgbVcXZ XVgc^kVah iV`^c\ eaVXZ ^c ejgedhZ"Wj^ai hiVY^V l^i] he^aa"dkZg higZZi XVgc^kVah i]gdj\]dji i]Z X^in#

INE: D; 86GC>K6A/ EZg[dgbVcXZ XVgc^kVah iV`^c\ eaVXZ ^c ejgedhZ"Wj^ai hiVY^V l^i] he^aadkZg higZZi XVgc^kVah i]gdj\]dji i]Z X^in#

BJH>8/ EgZYdb^cVcian hVbWV! heg^c`aZY l^i] V b^m d[ g]ni]bh [gdb i]Z 7gVh^a^Vc Xdci^cZci Ä ^cXajY^c\ 7V]^Vc V[dm‚ VcY EZgcVbWjXd bVgVXVij#

BJH>8/ >c[ZXi^djhan _dn[ja hVbWV#

FURTHER READING 7gVo^a =VcYWdd` ;ddieg^ci Wn 6aZm GdW^chdc# 6 cZl ZY^i^dc ^h YjZ ZVgan cZmi nZVg# I]Z bdhi XdbegZ]Zch^kZ VcY [gZfjZcian jeYViZY! l^i] i]Z e^X` d[ i]Z fj^g`^Zg YZhi^cVi^dch#

FURTHER INFORMATION 86GC>K6A L:7H>I:H/ lll#XVgcVkVa#hVakVYdg#WV#\dk#Wg lll#heijg^h#Xdb$XVgcVkVa <:C:G6A/ lll#WgVo^a#dg\#j` Ă„ 7gVo^a^Vc :bWVhhn VcY idjg^hi ^c[dgbVi^dc lll#^eVcZbV#Xdb Ă„ eaZcin d[ ^c[dgbVi^dc dc G^d lll#\g^c\dZh#Xdb#Wg Ă„ ^ckVajVWaZ dkZgk^Zl ^c[d

EGDH/ I]Z \gVcY heZXiVXaZ k^Zh l^i] H d EVjad Vh i]Z WZhi ^c 7gVh^a#

EGDH/ Cdi V [dgZ^\c idjg^hi ^c h^\]i

DJIJ7GD '%&% ,WPING&TWOU *,

LWPING IWKFG

BANKETE Classic Brasilian cooking and a laid back atmosphere in East London

Dji d[ i]Z [gn^c\ eVc###

@^c\ d[ i]Z GdY†o^d

E>8IJG: 7N 6C6 7G6H>A

DCTU TGUVCWTCPVU

?<1Ă–G6< 6;@612? I>EH ID B6M>B>H: NDJG B:6I ;:HI

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:

IgVY^ d Zb X]jggVhXVg^Vh WgVh^aZ^gVh! d gdY†o^d YZ X]jggVhXd iVbW‚b iZb hZ edejaVg^oVYd edg djigdh eV†hZh! aZkVYd edg gZhiVjgVciZh WgVh^aZ^gdh! Xdbd ‚ d XVhd Yd GdY†o^d G^Xd Zb AdcYgZh# EVgV fjZb c d Xdc]ZXZ d h^hiZbV! d gdY†o^d ‚ jbV YVh bV^dgZh ZmeZg^„cX^Vh \VhigdcÂ?b^XVh eVgV d kZgYVYZ^gd XVgc†kdgd/ \Vg dch eVhhVb Xdb eZ Vh YZ XVgcZ Zb ZheZidh Z d Xa^ZciZ XdbZ d fjVcid fj^hZg " dj V\jZciVg Cd 7gVh^a! ‚ Xdbjb d egd\gVbV hZ ZhiZcYZg edg k{g^Vh ]dgVh! ZheZX^VabZciZ Zb Ă’ ch YZ hZbVcV# 6 \gVcYZ ZhigZaV Yd h]dl ‚ V e^XVc]V! XdgiZ bVX^d YV XVgcZ Wdk^cV Xdb jbV XVeV YZ \dgYjgV aViZgVa! edg‚b! djigVh eVgiZh Yd Wd^! Xdbd VaXVigV Z [gVaY^c]V iVbW‚b i„b hZj eÂ?Wa^Xd! Va‚b YV VhV Z Yd XdgV d YV \Va^c]V cdgbVabZciZ d egZ[Zg^Yd YVh Xg^Vc Vh ! V XdhiZaV YZ edgXd Z djigdh# ={ V^cYV VXdbeVc]VbZcidh Xdbd Vggdo! [Z^_ d! [Vgd[V! WViViV [g^iV Z hVaVYVh! fjZ Va‚b YZ XdbeaZbZciVg Vh XVgcZh idgcVb d gdY†o^d iVbW‚b jbV de d eVgV kZ\ZiVg^Vcdh Ă„ bVh ‚ XaVgd! h‹ eVgV dh fjZ XdchZ\j^gZb bVciZg"hZ cZjigdh Y^VciZ Yd [Zhi^kVa YZ XVgcZh hVc\gZciVh Zb Zm^W^ d# ,& GD9ĂžO>D G>8D >ha^c\idc! D' 6gZcV VcY LZhiWdjgcZ <gdkZ GD9>O>DG>8D#8DB ™ %'% ,)-, ,-,%

$TCUKNKCP .CVKP JKIJNKIJV VWDG WR VQ „ „ „ „

2TKEG DCUGF QP C OGCN YKVJ FTKPM RGT RGTUQP

YOU ARE THE BOSS

6alVnh iZaa i]Z lV^iZg ndjg [Vkdjg^iZ Xjih VcY i]Z lVn ndj a^`Z i]Z bZVi# I]Zn VgZ i]ZgZ [dg ndj#

TRY DIFFERENT CUTS

:heZX^Vaan ^[ ndj gZ cdi jhZY id [gZfjZci^c\ gdY†o^dh/ ndj b^\]i WZ hjgeg^hZY l^i] i]Z kVg^Zin d[ iZmijgZh VcY Ó Vkdjgh# 8]^X`Zc ]ZVgih ^h V [VkZ

DON'T STUFF YOURSELF

IV`Z ^i ZVhn l^i] i]Z VXXdbeVc^bZcih " i]Zn gZ iZbei^c\! Wji `ZZe i]Zb Vh i]Z cVbZ hVnh# 6[iZg Vaa! ndj gZ i]ZgZ [dg i]Z bZVi# 6cY eaZcin d[ ^i

DJIJ7GD '%&% ,WPING&TWOU *.

DCTU TGUVCWTCPVU

CENTRAL LONDON 6 A6 8GJO 6g\Zci^cZVc hiZV` ]djhZ hZgk^c\ kVg^ZY \g^aaZY bZVih# BV^c bZVa VcY V Yg^c` " —'% )' Cdgi]Vbeidc GY! :8&G %=J 6c\Za

7:B 7G6H>A Ine^XVa [ddY ^c Wj[[Zi hinaZ! eVn Wn lZ^\]i# HcVX`h VcY [gdoZc V V†# DeZc ZkZgnYVn# 7j[[Zi —&!'%$&%%\g

I]Z AdcYdc :fjZhig^Vc! C&' ,7E B^aa =^aa :Vhi

(* Dm[dgY HigZZi! L&9'9I Dm[dgY 8^gXjh

A6I>C 8DGC:G ;VciVhi^X Vji]Zci^X 8dadbW^Vc VcY 7gVh^a^Vc [ddY! hZgkZY ^c V [g^ZcYan Vibdhe]ZgZ#

%'% ,)(, %)%%

A6H ><J6C6H ;gZh]! iVhin VcY Vji]Zci^X AVi^c 6bZg^XVc Xj^h^cZ# EZhXVYd Xdc 8dXd —&&#*%

%'%- ()( )&+& :AK6FJ:GD #8D#J@

'-( 8VbYZc GdVY! C, %?C 8VaZYdc^Vc GdVY HiVi^dc %'% ,+-' (-+,

%'% ,-(, &... ™ 6A68GJO#8DB

(+ "(- 9ZVc HigZZi! L&9 )EH AZ^XZhiZg HfjVgZ

76GG>D 8:CIG6A 6 XdX`iV^a adjc\Z VcY WVhZbZci XajW l^i] AVi^c Ă“ Vkdjg#

%'%, ).) ),&+ ><J6C6H#8D#J@

+ EdaVcY HigZZi! L&; -EH Dm[dgY 8^gXjh

L6=686 ;gZh]an bVYZ! Vji]Zci^X BZm^XVc Y^h]Zh# ;^h] V aV KZgVXgjoVcV —.#.*

76GG>D8:CIG6A#8DB

86;w 7G6H>A:>GD

]^YYZc Ă“ Vkdjgh If you are in a hurry, you might not even notice this charming little cafĂŠ hidden in the middle of the many restaurants around Angel. However, if you have the same attention to detail that the owners of CafĂŠ Brasileiro have, you might just end up addicted to the everyday way of snacking and comfort eating in Brasil. The food at CafĂŠ Brasileiro tastes just like home, wherever home is for you. Ranging from typical Brasilian snacks to more familiar sandwiches and jacket potatoes, this cafe’s menu is aimed at both Brasilian and English taste buds. The crispy Coxinha (chicken croquete - ÂŁ2.20) is deep fried to order and the succulent Casquinha de Siri, the Brasilian version of Coquille St. Jacques (ÂŁ5), perfectly balances lightly piquant crab meat and mildly flavoured potato mash. CafĂŠ Brasileiro has also options if you are into a more hearty meal. For an amazing price you can have rich dishes such as Brasilian culinary classic Feijoada (black beans and pork stew - ÂŁ5.85) or a less well-known but deliciously seasoned Frango com Quiabo (chicken with okra - ÂŁ5.35). With huge portions and beautiful presentation, the food in this cafe easily matches the standards from high class restaurants; and you can still try exotic fruit juices, tasty deserts and a carefully brewed, quality Brasilian coffee. All this in the intimate ambience created by owners Marinho Conceição and Duncan Millar, who have brought taste not only to their place’s menu, but also to its atmosphere. 86;w 7G6H>A:>GD &).W JeeZg HigZZi Ă„ C& &G6 6c\Za 86;:7G6H>A:>GD#8D#J@ ™ %,.'% %+* ((,

+% ,WPING&TWOU D8ID7:G '%&%

7G6O>A>6C <DJGB:I 8V[Z$GZhiVjgVci hZgk^c\ 7gVh^a^Vc VcY Edgij\jZhZ heZX^Va^i^Zh# Gjbe HiZV` E^XVc]V cd egVid —+#*%

++ 8]VcYdh EaVXZ! L8'C )=< 8dkZci <VgYZc %'%, ')% &--( L6=686#8D#J@

L]^iĂ’ ZaY Hi &&'! L&I *:: LVggZc HigZZi %,.-( +(( ))%

NORTH LONDON

7:AAD 86;: B 7gVh^a^Vc VcY >iVa^Vc heZX^Vai^Zh#

86C:8ÀD Edda iVWaZh VcY 7gVh^a^Vc [ddiWVaa dc IK# ;^h] BdfjZXV —,#.%

**Ă„*, 8]Vg^c\ 8gdhh GdVY AZ^XZhiZg HfjVgZ

&, Ndg` LVn! C, .F< 8VaZYdc^Vc GdVY

%,-((''.(+.

86;w G>D ;Z^_dVYV VcY hiZV`h egZeVgZY i]Z 7gVh^a^Vc lVn# EgVid G^d —.#-% + <gV[idc LVn! L&I *9H LVggZc HigZZi

86B>CD L :[[ZgkZhXZci iVeVh WVg ^c i]Z ]ZVgi d[ @^c\Éh 8gdhh

'+ " (% Hid`Z C 8]jgX] Hi! C&+ Hid`Z CZl^c\idc gV^a %'% ,.'( %*** B:G869D"86CI>C6#8D#J@

*% 7gdVYlVn BVg`Zi! :- )F? 8VbWg^Y\Z =ZVi] %'% ,',* ..%% 7J:C6NG:#8D#J@

86G>77:6C H8:C: 6lVgY l^cc^c\ 8Vg^WWZVc gZhiVjgVci d[[Zg^c\ Vc ^begZhh^kZ gVc\Z d[ igVY^i^dcVa Y^h]Zh VcY XdX`iV^ah# 6X`ZZ HVaiÒ h] —&)#.* &, LZhiZgc <ViZlVn! :&+ &6F 9AG Ä GdnVa K^Xidg^V %'% ,*&& '%'(

8=>A6C<D 6 Wjghi d[ BZm^XVc Ó Vkdjg# 8]^X`Zc 7jgg^id —*#)% ', JeeZg HigZZi! C& DEC 6c\Za

76G E:E>ID L AdcYdcÉh dcan HeVc^h] H]Zggn WVg#

%'% ,%) '&'(

( KVgc^h]Zgh NVgY! C& .9; @^c\Éh 8gdhh

%'% ,(*( +,+&

%'% ,-)& ,((& 86B>CD#J@#8DB$E:E>ID

8=>A6C<D#8D#J@

GD9ÞO>D G>8D :Vi"i^aa"ndj"Ygde Wj[[Zi! \g^aaZY bZVih Wgdj\]i id ndjg iVWaZ 7j[[Zi —''#*%! kZ\ —&*#*%

SEE p.63

&)' ;aZZi HigZZi! :8)6 '7E 8^in I]VbZha^c`

8D;;:: 86;w HZgkZh hcVX`h VcY ajcX] ;Z^_dVYV <jVgVc{ Yg^c` —* +- 8dbeidc HigZZi! :8&K ;Vgg^c\Ydc

,,",- JeeZg HigZZi! C& 6c\Za

%'% ,'*( &').

%'% ,(*) &%,+ GD9>O>DG>8D#8DB

:A E6HD 8dX`iV^a WVg VcY gZhiVjgVci hZgk^c\ BZm^XVc! IZm"BZm VcY kZ\ZiVg^Vc Y^h]Zh#

H67DG AVi^c 6bZg^XVc ;ddY VcY XdX`iV^ah l^i] V [jh^dc idjX]# 7gVh^a^Vc BdfjZXV —&(#*%

(*%"(*) DaY Hi! :8&K .CF DaY Hi# SEE %'%, ,(. )'%'

( KVgc^h]Zgh NVgY! C& .9; @^c\h 8gdhh

%'%, (-, ''-*

86C:A6 7gVh^a^Vc VcY Edgij\jZhZ Y^h]Zh# ;Z^_dVYV —.#*%

&%- :hhZm GY AdcYdc! C& -AM 6c\Za %'% ,''+ ***& ™ H67DG#8D#J@

%'% ,-)& ,((& ™ 86B>CD#J@#8DB

(( :Vga]Vb HigZZi! L8'= .AH 8dckZci <VgYZc %'%, ')% +.'+ ™ 86C:A686;:#8DB

9DJ7A: H=DI 8D;;:: =dbZbVYZ hVcYl^X]Zh VcY XV`Zh# :c\a^h] XgZVb iZVh VcY cViV XV`Zh# :mXZaaZci Xd[[ZZh VcY iZVh# Ild"Ó Vkdjg XdcZ —(#.* (- IVk^hidX` HigZZi! L8': ,E7 8dkZci <VgYZc %'% ,')% .,)' 9DJ7A:H=DI8D;;::#8D#J@

;G:<<D L

6g\Zci^cZ ^XZ XgZVb WVg d[[Zg^c\ V bdji] lViZg^c\ gVc\Z d[ Ó Vkdjgh# Ild"Ó Vkdjg XdcZ —(#.* ',"'. HlVaadl Hi#! L&7 )FG E^XXVY^aan %'% ,'-, .*%+ ™ ;G:<<D#8D#J@

<J6C676G6 ;ddY! a^kZ bjh^X VcY ZkZc YVcXZ XaVhhZh# ;^h] BdfjZXV HiZl —&'#*% EVg`Zg HigZZi! L8'7 *EL =daWdgc SEE %'%, ')' -+%% <J6C676G6#8D#J@

%'%, )-* ),(86C:86DADC9DC#8DB

B:G869D 76G 86CI :mX^i^c\ XdX`iV^ah VcY V \gZVi b^m d[ BZm^XVc ]dbZ Xdd`^c\ VcY igVY^i^dcVa [Vkdjg^iZh# ;^h] IVXd —+#%%

7J:C 6NG: 6g\Zci^cZVc hiZV` ]djhZ BV^c bZVa VcY V Yg^c` —'%

p.08

8D8D 76B7DD GZXZcian deZcZY 7gVh^a^Vc gZhiVjgVci l^i] V YVcXZ Ó ddg hiVgi^c\ [gdb &%eb# 8]Vg"<g^aaZY ÆE^XVc]VÇ —-#.% )- 8]Va` [Vgb GdVY! CL& -6? 8VbYZc Idlc

HE>G>IJ6A 86>E>G>C=6 76G 7gVh^a^Vc XdX`iV^a WVg hZgk^c\ igVY^i^dcVa VcY [jh^dc Y^h]Zh# 8V^e^g^c]V XV^e^gdh`V —( Yjg^c\ ]Veen ]djg ) ;ZgY^cVcY Hi! CL& -:G 8]Va` ;Vgb HE>G>IJ6A76G#8D#J@

%'% ,+', ++&(

8J76 A>7G: =6K6C6 Dg^\^cVa gZhiVjgVci l^i] iVeVh! bZVah VcY XdX`iV^ah# :a EaVid 8jWVcd —&'#.* ,' JeeZg Hi! C& DCN 6c\Za %'% ,(*) ...8J76A>7G:ADC9DC#8D#J@

9:HE:G69DH B:M>86C BZm^XVc [ddY! XdX`iV^ah VcY V \gZVi Vibdhe]ZgZ# 7ZZ[ 8]^b^X]Vc\Vh —&%#.* &', JeeZg HigZZi! C& &FE 6c\Za

IDGI>AA6 ;gZh]! V[[dgYVWaZ 8Va^[dgc^Vc" BZm^XVc Xj^h^cZ# 7jgg^idh —)#*% " —*#*% &( >ha^c\idc =^\] Hi! C& .AF 6c\Za %'% ,-(( (&%( IDGI>AA6#8D#J@

EAST LONDON

%'%, ''+ (''' 9:HE:G69DH">HA>C<IDC#8D#J@

76C@:I: SEE 7gVh^a^Vc Xj^h^cZ Y^h]Zh! p.62 e^XVc]V VcY [Z^_dVYV# 8]^X`Zc Higd\Vcd[[ —+#*%

:A"K6FJ:GD 6g\Zci^cZVc BZVih hZgkZY d[[ i]Z h`ZlZg#

( 7Zaa AVcZ! :& A^kZgedda HigZZi$ 6aY\ViZ %'% ,'), *),.

p.64

;6K:A6 8=>8 HZYjXi^kZ AVi^c Ó Vkdjgh l^i] ;gZcX] idjX]Zh# =VcY d[ <dY —&* .&".( <gZVi :VhiZgc Hi! :8'6 DaY HigZZi %'%, +&( *''- ;6K:A68=>8#8DB

<G::C 6C9 G:9! 76G 6C9 86CI>C6 6ji]Zci^X ?Va^hXVc [ddY VcY i]Z W^\\Zhi hZaZXi^dc d[ iZfj^aV ^c i]Z J@# AViZ"c^\]i 9? WVg# *& 7Zi]cVa <gZZc GY! :& +A6 %'% ,,). .+,% <G::CG:9#8D#J@

A6H ><J6C6H ;gZh]! iVhin VcY Vji]Zci^X AVi^c 6bZg^XVc Xj^h^cZ# DaY He^iVaĂ’ ZaYh BVg`Zi " & =dgcZg HfjVgZ! :& +66 A^kZgedda HigZZi ><J6C6H#8D#J@

E>C8=>ID I6E6H L K^ciV\Z 8]^X gZhiVjgVci l^i] Vc Vji]Zci^X VcY IVeVh bZcj# (' ;ZVi]ZghidcZ HigZZi! :8&N DaY HigZZi %'%, ).%%&'& E>C8=>ID#8D#J@

NCVKP DKVGU

+&

DCTU TGUVCWTCPVU &'. FjZZchidlc GdVY! HL- 7ViiZghZV

SOUTH EAST LONDON

SOUTH WEST LONDON

7J:CDH 6>G:H 86;w 6g\Zci^cZVc WZZ[! [gZh] eVhiV VcY 6g\Zci^cZVc hinaZ e^ooVh# <g^aaZY 7Wf —&)#*% Ä —')

6OI:86 A6I>C ADJC<: BZm^XVc Xj^h^cZ! bdji] lViZg^c\ XdX`iV^ah VcY WZZgh# AVi^c WVcYh VcY ide 9?h# (*+ @^c\h GdVY! HL( *:H Hdji] @Zch^c\idc

&, GdnVa EVgVYZ! H:( %IA 7aVX`]ZVi] %'%- (&- *(((

%'%, +'' '%-H6CI6B6G>69:AHJG#8D#J@

I>6 B6G>6 G:HI6JG6CI I6E>D86 =DJH: I^V BVg^V d[[Zgh YZa^X^djh iVe^dXV hij[[ZY X]^X`Zc Ygjbhi^X`h l $ XVije^gn! ^c VYY^i^dc id igVY^i^dcVa Y^h]Zh d[ 7gVh^a^Vc Xj^h^cZ VcY [Z^_dVYV dc HVijgYVnh VcY HjcYVnh#

%'%, (*' )%-, 6OI:86A6I>CADJC<:#8DB

.V! K^Xidg^V =djhZ Hdji] AVbWZi] GdVY! HL- &FI KVj^m]Vaa

7J:CDH6>G:HAI9#8DB

8DCHI6C8>6 Ä 6G<:CI>C: <G>AA 6g\Zci^cZ HiZV` =djhZ gZXZcian ^cVj\jgViZY# D_d YZ 7^[Z 6g\Zci^cd (&%\g &&do#Eg^bZ 6g\Zci^cZ G^W":nZ —&,#%%

7G6O6H GZhiVjgVci VcY YZa^XViZhhZc hZgk^c\ ]dbZ"bVYZ [ddY l^i] Edgij\jZhZ! 7gVh^a^Vc VcY :c\a^h] ^cÓ jZcXZh# Hi^X`n YViZ ejYY^c\ —(#)* )* IjahZ =^aa! HL' 'I?

*' IVccZg HigZZi! H:& (E= 7dgdj\]

%'% -+,- %+., 7G6O6HG:HI6JG6CI:#8DB

%'% ,'() %+,+ 8DCHI6C8>6#8D#J@

8G6KD 86C:A6 6 X]d^XZ d[ 7gVh^a^Vc XV`Zh VcY eVhig^Zh i]Vi VgZ id Y^Z [dg Ign Vahd i]Z [Z^_dVYV

8J76C6 Ä 76G G:HI6JG6CI =dbZ"Xdd`ZY 8jWVc VcY AVi^c [ddY egZeVgZY [gdb fjVa^in ^c\gZY^Zcih Vi V gZVhdcVWaZ eg^XZ# =Veen =djg Bd_^idh " ' [dg —+#.* )- AdlZg BVgh] H:& ,G< LViZgadd %'%, .'- -,,- 8J76C6#8D#J@

:A K:G<:A Jc^i^c\ VgdbVi^X VcY he^Xn AVi^c 6bZg^XV l^i] YZa^XViZ BZY^iZggVcZVc Ă“ Vkdjgh# - AVci Hi# H:& &FG 7dgdj\]

(% 7g^midc LViZg AVcZ! HL' 7g^midc 8G6KD:86C:A6#8D#J@

:A <6J8=D <g^aa HiZV` =djhZ —&(#.% 8]ZahZV ;VgbZgh BVg`Zi! &'* HnYcZn HigZZi HL( +CG Hdji] @Zch^c\idc %-,& (('-,,) :A<6J8=D#8D#J@

;>:HI6 =6K6C6 8dX`iV^a adjc\Z WVg l^i] iVeVh! a^kZ bjh^X VcY YVcXZ# ).% ;ja]Vb GdVY HL+ *C= ;ja]Vb 7gdVYlVn

%'% ,(*, %%*, :AK:G<:A#8D#J@

%'% ,(-& *-.& =6K6C6;JA=6B#8D#J@

A6 7D9:<J>I6 IVeVh! Ò h] VcY ]dbZ"bVYZ 8dadbW^Vc [ddY# —- " &( :aZe]Vci 8VhiaZ H]dee^c\ 8ZcigZ! H:& +I: :aZe]Vci 8VhiaZ %'% ,,%& .&++ A67D9:<J>I6#8D#J@

I68J76 8dX`iV^a WVg VcY BZm^XVc higZZi [ddY# &% 7ZY[dgY =^aa HL&' .G< 7Va]Vb %'%- +,(*(.) I68J7676G#8DB

A6H ><J6C6H ;gZh]! iVhin VcY Vji]Zci^X AVi^c 6bZg^XVc Xj^h^cZ GdnVa ;Zhi^kVa =Vaa! H:& -MM I]Z D' " H:&% %9H %'%, ).) ),&+ ><J6C6H#8D#J@

A>IIA: 7G6O>A 7dhhV l^i] V ]^ci d[ _Voo# =dbZ bVYZ bZVah#

(%"6 8Vi[dgY =^aa! H:+ )EM 8Vi[dgY GV^a HiVi^dc %'%- +.% ',,%

GD9ĂžO>D G>8D :Vi"i^a"ndj"Ygde Wj[[Zi! \g^aaZY bZVih Wgdj\]i id ndjg iVWaZ#

7j[[Zi —''#*%! KZ\ —&*#*%

+' ,WPING&TWOU D8ID7:G '%&%

IJ 8=>86H IVhin [ddY VcY Ó VbWdnVci XdX`iV^ah# BZm^XVc Y^h] —'% &' Ä&) AZdedaY GdVY! L^bWaZYdc! HL&. ,79 L^bWaZYdc %'%- .)+ )(%% IJ8=>86H#8D#J@

GD9>O>D 7G6O>A 7gVh^a^Vc hinaZ WVgWZfjZ l^i] jca^b^iZY edgi^dch d[ bZVi#

%'% ,,.( .,%%

6B7:G <G>AA GD9>O>D 8jih d[ bZVi [gdb h`ZlZgh# Eg^bZ GdY†o^d —&.#*% ,! HiVi^dc GdVY! CL&% )JE L^aaZhYZc ?jcXi^dc %'% -.+(&*-- 6B7:G<G>AA#8D#J@

76GG68D I]Z Vibdhe]ZgZ d[ V 7gVh^a^Vc WVg l^i] a^kZ bjh^X ;g^YVn id HjcYVn# 8]^X`Zc =ZVgih —+ &% @^c\h\ViZ EaVXZ! CL+ @^aWjgc

76C@:I:

WgVh^a^Vc WVcfjZi On a lazy weekend afternoon, Bankete can be the perfect place for nibbling barbecue snacks such as chicken hearts, smoked sausages, pork scratchings and fried cassava, all the while enjoying a cold beer and chatting away with friends. This very relaxed attitude can be clocked in bars and restaurants all over Brasil, but we’re talking the heart of London's East End here. An accessible lunch option for those who work/live around Liverpool St. and Aldgate, Bankete is also obviously frequented by Brasilians and fans of its cuisine. Feijoada, the famous black bean stew is the star of the menu - the mouth-watering dish comes with rice, farofa, sprouts and orange slices (£9.95). But all the treats listed above show that Leonardo Cotta, the owner, together with Chef Tavares really thought the menu through, developing something appealing to all tastes: appetisers that also include traditional Brasilian party snacks like coxinha and pão de queijo (£4.95 each portion), Brasilian barbecue-like meat (such as sirloin or rump steak, accompanied by rice, beans and mixed salad), feijoada, and other dishes like salads and pastas. During the week, for those in a hurry, a £5 takeaway is available, usually with three choices of dishes. On weekends, live music brightens up the evenings along with Brasilian and European football. And if you feel like taking home some of the delights, you absolutely can, as they’re available ready-made or frozen.

*%* <VggVii AVcZ! HL&- )HL :VgahĂ’ ZaY GV^a Hi# %'% --,& (-,* GD9>O>D7G6O>A#8DB

H6CI6 B6G>6 9:A HJG 6g\Zci^cZVc \g^aa ]djhZ l^i] a^kZ bjh^X dc BdcYVnh# 6g\Zci^cZVc HiZV` —&'

NORTH WEST LONDON

%'% ,+%) )++) 76GG68D86;:#8D#J@

WEST LONDON 86;w :HIG:A6 9D CDGI: Edgij\jZhZ Xj^h^cZ ^c V gZaVmZY Vibdhe]ZgZ# He^Xn ;gVcXZh^c]V —.#*% '.) @^c\h]^aa 6k! J7) -7M

%'%- -)& ()-- <D#ID$:HIG:A6

>7:G>86 ;DD9 8JAI# IgVY^i^dcVa HeVc^h] gZhiVjgVci l^i] V ^ccdkVi^kZ il^hi# &.* <gZVi EdgiaVcY HigZZi! L&L <gZVi EdgiaVcY HigZZi %'% ,+(+ -+*% >7:G>86ADC9DC#8DB

>E6C:B6 86;w HeZX^Va Y^h]Zh ZkZgnYVn! [Z^_dVYV! ejYY^c\h VcY XV`Zh# 7j[[Zi —&#'%$&%%\ ,". FjZZchlVn! L' FjZZchlVn

SEE p.61

<J6C676C6 ;Vbdjh ?Zg` X]^X`Zc hZgkZY l^i] bVc\d eVeVnV X]jicZn# —,#-* " —&'#,*# -* @Zci^h] Idlc GY! CL& SEE 8VbYZc Idlc

p.61

%'%, )-*&&++ <J6C676C6G:HI6JG6CI#8DB

B69: >C 7G6H>A 8aVhh^X 7gVh^a^Vc [VgZ! [gdb hZV[ddY id bZVi VcY [Z^_dVYV# E^XVc]V CV 8]VeV —&(#*% &' >ckZgcZhh HigZZi! CL& 8VbYZc Idlc %'% ,)-' %,,, B69:">C"7G6H>A#8D#J@

B:G8:6G>6 7G6H>A 7gVh^a^Vc igVY^i^dcVa hcVX`h VcY egdYjXih ^c"hidgZ# 8dm^c]V —&#*% ,,( =Vggdl GdVY! CL&% *E6 @ZchVa <gZZc %'%-.+'%'*'

%'% ,,.' .%*% >E6C:B686;:#8D#J@

B:HI>OD GZhiVjgVci"WVg d[[Zg^c\ V Ò cZ VcY Vji]Zci^X BZm^XVc Xj^h^cZ :cX]^aVYVh —&'

AD8D B:M>86CD BZm^XVc 8jWVc XVci^cV XdX`iV^a WVg VcY XjWVcV hVahV XajW#

&%( =VbehiZVY GY! CL& (:A LVggZc HigZZi

&%, LZhiWdgcZ <gdkZ! L' )JL FjZZchlVn VcY 7VnhlViZg HiVi^dch %'% ,')( &).. AD8DB:M>86CD#8D#J@

GD9ÞO>D G>8D :Vi"i^a"ndj"Ygde Wj[[Zi! \g^aaZY BZVih Wgdj\]i id ndjg iVWaZ# 7j[[Zi —''#*%! kZ\ &*#*% GdnVa DV` " &&& LZhiWdjgcZ <gdkZ! L' %'% ,,.' )%(* GD9>O>DG>8D#8DB

I6FJ:G>6 BZm^XVc XV[Z hZgk^c\ V \gZVi kVg^Zin d[ IVXdh! BZm^XVc Y^h]Zh VcY XdX`iV^ah#

76C@:I: 86;: G:HI6JG6CI ( 7Zaa AVcZ " :& ,A6 6aY\ViZ

&(."&)( LZhiWdjgcZ <gdkZ! L&& 'GH Cdii^c\ =^aa

%'%,' ),* ),. 76C@:I:#8D#J@

%'%, ''. ),() I6FJ:G>6#8D#J@

%'% ,(-, )%+) ™ B:HI>ODBM#8DB

H67DG 7G6H>A:>GD 7gVh^a^Vc Ò h] VcY WZZ[! \VbZ gddb! ^ciZgcZi! WVg$adjc\Z# 7j[[Zi —,#*% &% lZZ`ZcY Y^hXdjci +(. =Vggdl GdVY! CL&% *CJ @ZchVa <gZZc %'%-.+.&&).

H67DG B>C:>GD Ine^XVa Y^h]Zh [gdb B^cVh <ZgV^h Wji cd VaXd]da^X Yg^c`h # 7j[[Zi —+#*% +( HiVi^dc GdVY! CL&% )JM L^aaZhYZc ?jcXi^dc %'% -.+* '%*%

I=: 8J76C L Adc\ WVg jehiV^gh dg Y^ccZg ^c i]Z Ò ZhiV Gddb# AVbW 8jWVcd —&%#.* HiVWaZh BVg`Zi! 8]Va` ;Vgb GY 8VbYZc Idlc %-,% -*% -.,* ™ I=:8J76C#8D#J@

E>8IJG: 7N 6C6 7G6H>A

NCVKP DKVGU

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. +(

NCVKP DKVGU

+)

LWPING IWKFG EVERY THURSDAY 6pm - 11pm

E FRER Y ENT 4 Forró do Galpão YEA

RS

FORRÓ IS ONE OF THE MOST TRADITIONAL MUSIC AND DANCE STYLES FROM BRAZIL

LIVE MUSIC: BANDA DA LADEIRA Guests and DJ’s Forró Dance Lessons with Douglas & Gladys from 7pm (£5.00)

Corbet Place • Old Truman Brewery 15 Hanbury Street, E1 6QR (Ely’s Yard car park) Tube: Liverpool Street /Aldgate East amorimlucas@hotmail.com

+* +*

LWPING IWKFG

SATELLITE TV & COMPUTERS

BOILER

SHOREDITCH HIGH STREET

HOUSE

Installation and repair of Globo, Record and Free Sat channels.

E1

BUXTON ST

WHITE CHAPEL

E

RCIA

ME

LAN

M COO

CK BRI ITE

L ST

WH

L RD

PE

CHA

Computer Repair, Virus Removal, OS and programs installation, Upgrades. NO FIX NO FEE

Contact: Cesar

0753-888-1858 CompTIA A+ Certified 8 years of experience

Uk & Europe

+ 44 (0) 7807175268 + 44 (0) 7748399909 www.f1removals.co.uk f1removals@btinternet.com

++

LWPING IWKFG

+,

LWPING IWKFG

Desk Space for creative people

from £100*

HERBALIFE Lose weight, stay healthy and feel good!

ANDRÉ OLIVEIRA E SUA EQUIPE

in central London

HOM

E DEL AVAIL IVERY A B LE

*including internet

phone: 07986050250

Maria 07875074015

Atendimento em português, italiano e inglês

13/10/08 00:43:51

• Balance, detoxify and energize your chakras and aura • Remove blockages that originate physical and emotional illness • Reestablish the natural flow of energy in the body

Joäo M Costa

Bio-energy Therapist

07954 389 090

jmcarvalhojunior@hotmail.com

http://jmcarvalhojunior.web.officelive.com

+-

PROBLEMAS NA COLUNA, TODAS AS ARTICULAÇÕES, POSTURAIS, RPG, PÓS-OPERAÇÃO, ETC Suite 3, 20 Harley Street W1G 9PH Metrô: Oxford Circus

BIO -ENERGY THERAPY

For further information contact

Member of the Chartered Society of Physiotherapist

Attentive service / English-Português

cidanogueirab@hotmail.com

desk_space.indd 1

PHYSIOTHERAPY CLINIC

TEL: 020 7636 8845

www.alo-physiotherapy.co.uk

LWPING IWKFG

+.

LWPING IWKFG

,%

LWPING IWKFG

,&

LWPING IWKFG

,'

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. ,&

B@23B9 @6A2@ .;1 ;B:/2?@ :B76HHN D; 7G6O>A WgVo^a#dg\#j` (' <gZZc Hi " L&@ ,6I &(& -)// /&&& 7G6O>A>6C 8DCHJA6I: XdchWgVhadcYgZh#Xdb (! KZgZ HigZZi " L&< &(& -/)& /&++ &-/+. *&*&'( dji d[ ]djgh cjbWZg! id WZ jhZY dcan ^c XVhZh d[ VggZhih! YZVi] dg di]Zg ZbZg\ZcX^Zh =DB: D;;>8: &.-& ,&, --,, ^cY#]dbZd[Ò XZ#\dk#j` 76C8D 9D 7G6H>A &(& -,&, -'&'

8>I>O:CH 69K>8: 7JG:6J X^i^oZcVYk^XZ#dg\#j`

>BB><G6I>DC 69K>HDGN H:GK>8: >6H ^Vhj`#dg\ &(& -/,- '(&&

')"=DJG IG6K:A >C;DGB6I>DC &(& -((( '()* iÓ #\dk#j`

C=H <EH! 9:CI>HIH 6C9 =DHE>I6AH c]hY^gZXi#c]h#j`

6HHD8>6vÀD 9: 7G6H>A:>GDH CD J@ &(& ./,' ))-VWgVh#dg\#j` :B7G6I:A &.&& ./& &++ " Id bV`Z XdaaZXi XVaah id 7gVh^a C6O K>96H &(& ..)* &()( cVo#dg\#j`

A6I>C 6B:G>86C 9>H67A:9 E:DEA:ÉH EGD?:8I &(& --/) .)// aVYee#dg\#j` IG6CHEDGI ;DG ADC9DC &(& -((( '()* iÓ #\dk#j`

DJIJ7GD '%&% ,WPING&TWOU ,(

YQTFU D[ #TPCNFQ #PVWPGU KNNWUVTCVKQP D[ /CTKCPC %JGOGU

d kZcid kV^ aZkVg ijYd

i]Z l^cY l^aa iV`Z Vaa

BVg^VcV 8]ZbZh V`V `^ch`V ^h Vc 6g\Zci^c^Vc ^aajhigVidg a^k^c\ VcY ldg`^c\ ^c AdcYdc# lll#Ó^X`g#Xdb$e]didh$`^ch`V$h]dl

,) ,WPING&TWOU D8ID7:G '%&%

ISSA JUMA & SUPER WANYIKA STARS World Defeats The Grandfathers

D.O. MISIANI & SHIRATI JAZZ The King Of History

“Nine epic tracks of no-nonsense rumba.” Songlines

“…liable to sweep you up in a passage of pure magic.” fROOTS

TABU LEY ROCHEREAU The Voice Of Lightness Vol. 2 Congo Classics 1977 - 1993 AVAILABLE AUTUMN 2010

www.sternsmusic.com

MAYRA ANDRADE Studio 105 AVAILABLE WINTER 2010

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.