I learned to love Caetano after he insulted my father – 05/14/2022 – Illustríssima

[RESUMO] The publicist spent years without listening to Caetano after the singer cursed his father, journalist Geraldo Marinck, calling him an ass in a 1978 interview, the episode that became a meme. Decades later, when he collected his father’s texts on a website, he came up with the idea of ​​producing a podcast with Caetano’s version of the situation and ended up giving in to the artist’s music.

“Since when did you hear this live?” asked a friend with whom we shared a table in Espaço das Américas, in São Paulo, during the premiere of Caetano Veloso’s new tour in the city. Floating between the chords of “You Don’t Know Me,” a song recorded in London in 1971, during my exile, my unexpected assertion that I was “about 45 or so” deserved some initial notes at this fall concert. .

I grew up in the 80s and 90s of the last century surrounded by records and cassettes that came home from my father, writer and journalist Geraldo Marinck (1942-2009), and my mother, who was engaged in journalism and advertising – today we are talking about PR (public relations).

As Jill, Ellis, Chico, and Rita took turns on the phonograph, little was heard of Caetano, who was popular, at least outside the home, as the rest of the gang. “He quarreled with his father on a TV show. He changed the record,” my uncle warned, as he wore a djavan jacket to pack lunch on Saturday.

Even without understanding the context of that battle, I took in the message and followed my musical training in search of new discoveries, just like the series’ international soundtrack. Since I had never heard of any clash between my father and members of The Clash or UB40, Caetano paused more and more on the cassette player at home until he went into deep nap mode.

He tried to wake up several times through friends and girlfriends who insisted on inviting me to the Bahian singer’s concerts and Brazilian music concerts. “MPB to me is British folk music,” he said with cheerful sympathy for someone who didn’t understand music or people — English was 7.

Having overcome the nihilistic phase, I tried to expand my musical repertoire as the tropical blockade intensified. In 2010, I was in Paris and was invited by a couple of Brazilian friends to an arts and music festival in La Défense, the city’s financial district, a kind of Pyrenees in the Anhangaba Valley, in euros only. At the subway exit, posters indicated the way to the event and highlighted the main attraction of the day: Mr. Caetano Veloso.

She kept TV past feuds in a scandalous package and set out to enjoy the Franco-Brazilian experience without the bias of the voices. After all, I was on vacation, and there was a World Cup in progress, when the world was more cheerful for 30 days – Amaury Jr. It will say “lubricated” – especially if your selection hasn’t already been deleted. In addition, the electoral period in Brazil will be only a few months away, which has left me democratically stable. “croissant hag!” That’s what Galvão says.

We walked around the festival without much apprehension, and even off the stage, music played during our conversations like a pleasant late afternoon soundtrack. “And Kaká, huh, does it really work?” , someone fired during a break in presentations. Something else was missing for the attacking midfielder in that trophy (not just for him), other than the voice finally starting to get excited, reminding me that I was at a music festival and that it was time to see someone play.

On the way to the stage, still without identifying the band, I saw hotheaded guys performing in a voice that I really liked. Dry and powerful drums, amazing bass lines, tropical raps and a festive atmosphere that only a live show can provide. “Très bon!” I mentally faltered to practice my French, imagining I was experiencing the new feel of the Parisian indie rock scene. Read error. Excuse me for my French!

The teacher of these children was precisely Caetano Veloso, the artist I did not like and who had just appeared on the scene, to my surprise. He sang with the Cê ensemble, formed by Pedro Sá, Ricardo Callado and Roberto Dias Gomes, young musicians who brought new musical references by injecting samba, distortions and other experiments into the repertoire of the “O Leãozinho” composer with whom he recorded three albums.

This combination of sound caught my eye in a good way, and I felt like the “vandals” who watched the 1970 national team matches and found the goals beautiful, but politically inconvenient. To disguise it, I stood sideways toward the stage, but toward the speakers, which generated involuntary and ultimately sensory movements in my feet, shoulders, waist, and head.

And just, the rest of the body was under control. Technically, I haven’t seen the Kayetano show yet, but I was excited to discover that in addition to Odara he could also be a guitarist.

When I returned to Brazil, I started a personal project that would put me back in front of the composer. I started a research project, for a website that I was going to create, out of great texts written by my father over the 50 years of his career, and a personal tribute and a tribute to journalism. Ironically, in the process, they started tagging me in social media posts for content with the non-digestive headline “Caetano blows up Giraldo.” Even before watching it, I had already anticipated the plot.

This was the fateful video for a version of the 1978 Vox Populi TV show, in which Caetano answered questions pre-recorded in the studio. One of them was from my father who interrogated provocatively who had arrested him in 1968, whether it was a patrol or an ideological patrol. He also wondered, because of the artist’s turbulent relationship with critics, if journalism was limited to praise only.

The beginning of Cayetano’s answer can be found in videos, gifs, WhatsApp stickers, graffiti and in the most diverse memes: “How stupid you are, man! How crazy!”.

The rest of the speech didn’t fit the wall but was more aggressive, reflecting indignation regarding the revision of “Too Much”, from the same year, where my father said it was an album with poor poetry of others and by Caetano himself which, although it “seems to last to Forever”, he managed to surprise in “Eu te Amo” and especially in “Sampa”, “the most beautiful song of the year”.

“I want to get incompetent and dishonest people like you out of the service. I will work for people like you until they lose their jobs,” concluded the upset interviewer.

My dad had become a Caetano donkey, and I finally understood why Christmas presents dwindled from 1978 onwards in the house, without even being expelled. A ‘preventive attitude’, would put my mother off the right track, if she was asked to. I kept searching and putting the pieces together to put the site online, but the memetic episode still bothered me.

That’s when I decided to seek help from the specialists, also known as Paula Scarpin and Flora Thompson-Divo (no one pronounces that name majestically as Caetano himself) of Radio Novello and pioneer Praia dos Osos, Retrato Narrado and Punishment for Crime.

I explained that I was launching a website with some historical reporting and that one of them, which started the episode with Caetano, could produce a podcast – and possibly new memes. They agreed and soon began research and the first interviews for the project. The ultimate goal for us was to find the man and hear his side of the case more than four decades later, a year after the first email exchange.

This text does not intend to provide further evidence about the meeting (the podcast will be broadcast in the second semester), but without it I certainly wouldn’t be in Espaço das Américas for my first show (“second”, the French would say, you always want to argue), now officially and publicly.

Back at the table at Espaço das Américas and with the music gap duly explained, it’s time to experience that much awaited moment. Caetano Veloso entered the stage floating like an icon ready for a night of glory. Welcomed in an atmosphere of lights and minimalist elements, the singer kicked off his presentation par excellence for the songs of “Meu Coco”, an album released last year, such as “Anjos Tronchos” and “Não Vou Deixar”, distilling the high-resolution sound and showing off. total body area.

As with Cê 15 years ago, forming with young musicians, such as Lucas Nunes, multi-instrumentalist and record producer, proves that, at 79, Caetano has never stopped daring and experimenting with the new.

For the amusement of Paulistinists, he spoke of the retro “R” in “A Outra Banda da Terra,” although there isn’t much trick to getting a more “draughty” tone. Running into the hugs with “Reconvexo”, “Sampa”, “Baby” and other hits, he is always confident, harmonious and has a secret smile on his face.

“Get out, Bolsonaro!” said Caetano, who had already been criticized on some occasions for not taking a political position – as well as for taking sides. Without the need to raise any flags. He was applauded and cheered, and the message was delivered.

Alone with guitar or accompanied by his band, he has honored the partners and formations that have accompanied him over the past fifty years and have been responsible for the enormity of musical horizons that helped him become one of the world’s most famous composers. By the end of the night, neither he nor the audience had the right to be disappointed.

I think I’m going to make an NFT out of this meme. How crazy man!

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