Tag Archives: Bob Marley

Two Narratives Entwined: Gil and Veloso

Caetano Veloso and Gilberto Gil have made history and song together for more than a half century. In the mid-’60s, they fomented the Tropicalia revolution in their native Brazil. They were imprisoned and exiled for their troubles, an experience documented in Tropical Truth: A Story of Music and Revolution in Brazil, Veloso’s memoir, one of the best and most important music autobiographies you’ll ever read.

The two elder statesmen have reunited for a tour, which brought them to the cavernous Microsoft Theater in LA last night. It was just the two of them and their acoustic guitars on the mammoth stage — two graying septuagenarians — with sometimes the audience joining along. Veloso’s voice in particular gets more hauntingly beautiful every time I see him; he may now be my favorite artist of all time (sorry Bruce). Having been a “soft Brazilian singer” (to borrow a phrase from one of his songs) — albeit one fond of static disruptions and eruptions — his whole life, he hasn’t blown out his cords one bit. If anything, they’ve become more supple, precisely tuned instruments. Gil, the former culture minister, sounds a bit raspier, but when he took the high notes and Caetano the low, the paired melodies took my breath away.

It made me think of a comment Carrie Brownstein had made earlier that day, in her on-stage conversation with LA Times critic Lorraine Ali, at the Los Angeles Festival of Books, about how she and Corin Tucker offer two narratives instead of the usual one as the front people of Sleater-Kinney. Veloso’s and Gil’s narratives have long entwined in a dialogue about race, colonialism, pop culture, and politics. Thinking of a way to explain to others the importance of the show, I thought it’s like seeing Dylan and Marley on stage together — if Dylan could carry a tune. These men are giants, who sing mostly in Portuguese, but also in Spanish and English. And then, sure enough, they closed with Marley’s “Three Little Birds.” Maybe I was reading into it, but was the refrain — “Every little thing’s going to be all right” — a message to the many Brazilians in the audience, as their country goes through perhaps the most intense political and economic tumult since the 1960s? The leftist regime that Gil was once a part of is under investigation and attack, in a country whose cultural icons still remember how it felt to be locked up by a military dictatorship.

But that was a subtext in an evening that was all about two of the most beautiful voices you might never hear together again, singing a half-century’s worth of songs of freedom.

 

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Fela, Marley, Riot Grrrl, and More

IMG_2892I had the immense honor to co-present a conversation between Nobel laureate Wole Soyinka and girl wonder Vivien Goldman at LMU today. Focusing primarily on the work of Fela Anikapulo Kuti and Bob Marley, they talked about politics, music, activism, pan-Africanism, post-colonialism, spiritualism — and a whole lot more. It was probably the most distinguished panel I’ve ever been associated with, and the Marymount Institute was packed.

This followed on the heels of the successful launch party for the EMPLA Conference last night in West Hollywood. The Jabberjaw panel was great, and yet I felt they slightly sidestepped my question afterwards about race issues and gentrification. Well, panelist Raquel Gutierrez apparently felt the same way, and wrote this amazing blog about race, punk, Riot Grrrl, gender, etc.

The conversation about Pop and Politics continues tomorrow at USC and Saturday at Redcat Theater. I moderate a panel at 10:30 tomorrow morning and am doing a Critical Karaoke piece (on the Runaways) Saturday afternoon. If either of them go half as well as these two events, I’ll be a lucky girl.

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Filed under Queens of Noise, Uncategorized

Goldman and Soyinka on Marley and Fela

MI_Goldman_Soyinka_flyer jpeg

 

I’m so pleased to announce this event, which I am also co-moderating.

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