Go back to previous topic
Forum nameThe Lesson Archives
Topic subjectsome history
Topic URLhttp://board.okayplayer.com/okp.php?az=show_topic&forum=17&topic_id=44863&mesg_id=45021
45021, some history
Posted by el_rey, Thu Jun-16-05 08:19 AM
I know getting all this music out there is what this post is all about, but I think we should also be letting each other know who some of these artists are as well.

Here's some info on Berimbrown:

***************************

Maria Goretti district in the northeast region of Belo Horizonte, 1997. The steep street is gradually being taken by people who move around the sidewalks, trying to find their way leaning against the walls or simply sitting on the ground - a natural urban stage, made of asphalt. Dozens of children with painted faces and afro-like clothes look for their places side by side.

It has been like this since 1991. From time to time that forgotten spot placed in the suburbs of the second biggest economical center of the country shows its warrior soul teenagers carrying drums hanging from their necks, wooden sticks in their hands, strength in the arms and in the mind. The Afro reggae atmosphere could cause some discomfort, as if Salvador had slipped down from the map, had Minas Gerais not been the second state with the biggest black population in the country.

As a cultural "quilombo" (quilombo was the name of the place where runaway slaves used to live), the Maria Goretti district pulsantes under the stick of a condutor who came out of the capoeira. The brilliant eyes of the children who carry drums bigger than themselves stare at their neighbor Ramon with admiration. With Rasta hair the afro conductor Ramon silences the zum-zum-zum sound with only one movement of his arm. Such respect was achieved on the daily consistent work, year after year, trying to turn poor schoolboys into artists to be.

After being turned into a Master in the "capoeira" baptism, Ramon is now known as Master Negoativo. Along with his sister Valéria in the vocals and with the tree stick in hand, Master Negoativo spends whole nights conducting a rhythm which can make 1500 people move.

ln the middle of the group a thin teenager already stands out, with the ancestor rhythm running in his veins, producing a strong and involving beat on his drums. ln the background another boy performs seriously and strongly and strongly, as if showing the world that he knows and really means what he is doing. Around them more and more unknown faces start writing a different a story made of persistence and dignity, a story which goes against all the adversities and negative statistics present in the police reports.

But the "samba-reggae" performed for 7 years starts accepting pieces of other references. The year or 1990 spent in Belgium by Master Negoativo would add many "afro-stickers" to his "musical baggage". The friendship made with people from Congo with the same genealogical background, and the memories of his childhood in Maria Goretti with all the processions and other celebrations in the Mozambique style start to blossom.

The Afro movement start breaking itself into pieces. lt no longer exists in the same way in Master Negaotivo's mind, which is now boiling with new information. A new group starts being created from the debris of the old one. Just coming out of adolescence with a mature voice now, Alexandre starts exercising it. Some other kids are called to take over the drums. The next door neighbour who has a bass guitar decides to join group. The other one with his guitar becomes aware of what is going on and comes along. They bring with them all the ancestor musical baggage from the most varied sources, ranging from rhythms of Minas Gerais to the universal African beat.

The group entertains many different districts in the city of Belo Horizonte, playing what is already part of their DNA; a mixture of funk and soul. The first lyrics start coming into shape; they talk about "berimbau", an instrument which is the symbol of doing much with very little. They talk about everyday life, hardships and about the poetry of those who fight to have their daily bread.

They talk about the fate of at least 3 thirds of the population in the country, that is, those who have wishes. Using powerful words the suburb exercises its voice meaningfully, with groove, rhythm, and sincerity. The Congopop is thus established.

Berimbrown is on the road.