巴西音乐国宝，以《鸽子歌》扬名全球的歌之传奇大师与创作诗人卡耶塔诺．费洛索Caetano Veloso可以说是近年来最受推崇的巴西男歌手与世界音乐的代表性人物，拜诸多国际名导如王家卫《春光乍泄》、《爱神》及阿莫多瓦《悄悄告诉她(他在片中还现场演唱了鸽子歌一曲)》及获奥斯卡主题曲提名的《挥洒烈爱》等几部声震国际的电影之赐，他充满异国情调、迷幻磁性的歌声逐渐在全球及本地传播开来。身兼诗人、音乐家、制片家与政治运动家多样身份，他的歌唱生涯始于1960年代以bossa nova为始，受Joao Gilberto影响；后来随着披头四的脚步，Veloso开始发展新的音乐态度Tropicalismo，将巴西音乐融入摇滚、前卫音乐，型塑出一种迷幻、社会觉醒的风格。因为在歌曲中批判巴西军政府，他的音乐常被禁甚至因而坐牢，最后被迫流亡海外，1972年才回到巴西。即使如此，他依旧坚持音乐的美乐地 -祖国巴西音乐的根，吸取世界各式各样的音乐元素在创作中，几十张作品创作也以葡萄牙文为主，音乐存在于他的脑海，是他表达情感投射的方式。 by John DouganA true heavyweight, Caetano Veloso is a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on a par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output over the last few decades proves that this is no exaggeration.Born in 1942 in Santo Amaro da Purificacao in Brazils Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the 1950s) that formed the foundation of Velosos intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early 60s, the 23-year-old Veloso won a lyric-writing contest with his song Um Dia and was quickly signed to the Phillips label. It wasnt long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (i.e., musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music. Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazils burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB. This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many tropicalistas. Censorship of song lyrics as well as radio and television play lists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for anti-government activity and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972. Although his commitment to politicized art never wavered, Veloso, over the next 20 years, went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the 80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.) This steady increase in popularity occurred despite the fact that Velosos records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone elses) tastes — that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), was a certifiable superstar, but was never self-aggrandizing, narcissistic, or overly concerned with how hip he was.Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers Arto Lindsay and Peter Scherer) became his first nonimport release in America, Velosos stateside profile increased significantly, reaching its highest point with the release of 1993s Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American ten-best lists, Tropicália 2 proved once again that Velosos talent (as well as Gils) had not diminished a bit. His early-90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jacksons Black and White and Dylans Jokerman), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998s Livro at the first annual Latin Grammy Awards. After the end of the millennium, Veloso delivered a bossa nova album, the spirited Noites do Norte, a live record from Bahia, a collaboration with poet Jorge Mautner, and the songbook album A Foreign Sound. In 2006 Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno.