Seu Jorge ? Carolina 2002 !!EXCLUSIVE!!
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After making his recording debut on Farofa Carioca's Moro No Brasil (1997), Seu Jorge left the band and embarked on a solo recording career that commenced with Samba Esporte Fino (2001), his full-length album debut (released internationally in 2002 as Carolina). The best of both worlds, the album's style of samba-funk is thoroughly modern, particularly in terms of its vibrant production, yet still harks back to classic Brazilian samba-funk albums of the 1970s such as Jorge Ben's África Brasil (1976) and Gilberto Gil's Refazenda (1975). The standout opening song, "Carolina," gets the album off to an absolutely rousing start, and the next two songs, "Chega No Suingue" and "Mangueira," are similarly stirring. These first three songs alone make Samba Esporte Fino a compelling debut album: each written by Jorge, they showcase not only his exceptional songwriting skills but also his expressive singing voice and his lively backing band (guitar, bass, drums, percussion, horns, background vocalists). Following the opening run of self-penned songs, Jorge works in a variety of covers, including "Em Nagoya Eu Vi Eriko," a song written by Jorge Ben specifically for inclusion here. Amid these covers, Jorge slots a late-album pair of his own songs, most notably "Funk Baby," a soul-funk gem with a fat bassline and soaring string arrangement. There is a wealth of such highlights on Samba Esporte Fino, an almost entirely upbeat and danceable album that is nonetheless varied in style from one song to the next, musically as well as lyrically. Another plus for the album worth mentioning is the production of Ben in collaboration with Beastie Boys producer Mario Caldato. As aforementioned, it sounds 21st century, particularly the rich basslines and the crisp percussion, yet is still earthy enough to hark back to samba-funk of the 1970s.
Debut album from the City Of God and Life Aquatic star Seu Jorge, co-produced by Mario Caldatto of Beastie Boys and Brazilian Band Planet Hemp fame. 'Carolina' was named album of the year in Brazil in 2002.
The music of Seu Jorge occupies a singular place in today's Brazil. His songs are widely hailed as a return to the traditional songwriting of Tom Jobim and Caetano Veloso. But his style, and his background, lead many to call Jorge a hero of life on Rio's streets. It was his history in the slums of Rio de Janeiro that led to bigger things for Jorge, including a high-profile appearance in the 2002 film City of God.
Jorge released Cru, a calmer follow-up to his album Carolina, in 2002. The songs on it mix ballads and bossa nova while helping cement Seu Jorge's place in the line of great Brazilian songwriters and performers. Hear a few recorded songs from Cru in this session for World Cafe.
Seu Jorge "Carolina" (Mr. Bongo, 2002) (Produced by Mario Caldato) I listened to this album when it first came out, but took several years to get around to reviewing it, mostly because it didn't do much for me the first time around, and I didn't want to be (once again!) in the role of pooh-poohing some trendy album that all the pretty people in Europe think is cool... So, just to be a nice guy, I set Seu Jorge's debut aside for a while, and avoided comment, then forgot it was in the stacks until the Summer of '05, when his second album (reviewed below) came along and made my toes curl a little... So, I dutifully dug this one up and gave it another listen: Produced by Mario Caldato of Beastie Boys fame...? Check. Mostly original material, with a few well-chosen covers by the likes of Jorge Ben and Carlos Dafe...? Check. A soul-disco-funk-samba mix that sounds a lot like Jorge Ben's work in the early '80s...? Check. Gets better the longer you listen to it and the deeper you go into the album...? Check. Still kind of flat and prefab? Yeah... check. Gets not-so-great again towards the end of the album? Um... yeah. I mean, this album is okay, but not electrifying; Seu Jorge often comes close to drifting into Luiz Melodia territory, but he does manage to keep just this side of cool. I guess it's really the first few and the last few tracks on here that seem only so-so; the middle of the album gets a little slinkier and more genuinely groovy. It's worth checking out, for sure, though perhaps not quite as earth-shatteringly super-cool as you might be led to believe. (Released in Brazil under the title, Samba Esporte Fino.)
Originally released under the name Samba Esporte Fino, Carolina is Seu Jorge's debut full-length. The vibrant, contemporary combination of samba and funk, backed by guitar, bass, drums, percussion, and horns, is central to the 2002 album, and there are plenty traces of '70s artists like Jorge Ben and Gilberto Gil on the expressive 12-tracker. Perhaps best known for his work on Wes Anderson's The Life Aquatic with Steve Zissou (he did Portuguese covers of David Bowie records for the soundtrack and starred in it) or his role as Knockout Ned on City of God, the Brazilian artist's ability to create fun, upbeat rhythms and melodies shines on Carolina; check out the title track, "Chega no Suingue," "Mangueira," "Tu Queria," "O Samba Tai," and "De Alegria Raiou O Dia."
The music of Seu Jorge occupies a singular place in today's Brazil. His songs are widely hailed as a return to the traditional songwriting of Tom Jobim and Caetano Veloso. But his style, and his background, lead many to call Jorge a hero of life on Rio's streets. It was his history in the slums of Rio de Janeiro that led to bigger things for Jorge, including a high-profile appearance in the 2002 film City of God.
Jorge released Cru, a calmer follow-up to his album Carolina, in 2002. The songs on it mix ballads and bossa nova while helping cement Seu Jorge's place in the line of great Brazilian songwriters and performers. Hear a few recorded songs from Cru in this session for World Cafe.
Appeared in 20 plays with Rio's state university theater company; joined Farofa Carioca, 1992; recorded first solo project, Samba Esporte Fino, 2001; issued first solo album in United States as Carolina, 2002; appeared in City of God, 2002; appeared in Wes Anderson's The Life Aquatic With Steve Zissou, 2004; released Cru and The Life Aquatic Studio Sessions, 2005.
On that day in Porto Alegre, I knew only of Seu Jorge from his early hit Carolina (2001) and his performance as the charming crook Mané Galinha in the film City of God (2002). Directed by Fernando Meirelles, it tells the intricate story of a decade-long gang war that breaks out in a favela of Rio de Janeiro.
Appeared in 20 plays with Rio's state university theater company; joined Farofa Carioca, 1992; recorded first solo project, Samba Esporte Fino, 2001; issued first solo album in United States as Carolina, 2002; appeared in City of God, 2002; appeared in Wes Anderson's The Life Aquatic With Steve Zissou, 2004; released Cru and The Life Aquatic Studio Sessions, 2005.
In 2002, Seu Jorge appeared as the character Mané Galinha in the critically acclaimed film City of God, launching his career as an actor. He went on to play Pelé dos Santos in Wes Anderson's The Life Aquatic with Steve Zissou, a film for which he also provided much of the soundtrack.
Wildly popular in his native Brazil, Jorge was skillfully cast as singing crew member Pelé dos Santos by director Wes Anderson for the film after seeing his turn as Knockout Ned in the powerful City of God, a critically-acclaimed 2002 film set in the favelas of Rio de Janeiro.
Attivo come membro del gruppo Farofa Carioca, ha debuttato da solista sul mercato internazionale nel 2001 con l'album Carolina. Nel 2002 ha esordito nel mondo del cinema recitando nel film City of God. Nel 2004 ha pubblicato l'album Cru, mentre l'anno seguente è uscito un album dal vivo registrato con Ana Carolina.
En la Academia Militar de Agulhas Negras, se lleva a cabo la formación de oficiales del Ejército Brasileño en sus aspectos profesionales, políticos, sociales y culturales. En este artículo se propone identificar el perfil y cómo se forman quienes, en el futuro, serán generales. Para eso, la investigación utiliza datos cuantitativos del perfil de los cadetes de 2002 a 2012 y analiza características formales de la enseñanza, como currículos y horarios. También ha merecido atención la dimensión informal e igualmente relevante del proceso de aprendizaje: la resocialización del alumno a través de la exposición permanente a situaciones de fuerte carga simbólica, cuando se forman nociones de jerarquía, disciplina y lo que significa ser militar frente a 'civiles'. Las conclusiones dialogan con estudios relacionados, cuestionando al Ejército como imagen de la nación, confirmando tendencias y trayendo noticias, como el crecimiento del reclutamiento entre civiles y la permanencia del reclutamiento endógeno, pero ahora entre los militares de bajo rango.
At the Military Academy of Agulhas Negras, officers of the Brazilian Army are trained in their professional, political, social, and cultural aspects. In this article, it is proposed to identify the profile and how those who, in the future, will be generals, are formed. For this, the research uses quantitative data from the cadets' profile from 2002 to 2012 and analyzes formal teaching characteristics, such as curricula and schedules. The informal and equally relevant dimension of the learning process also deserved attention: the re-socialization of the student through permanent exposure to situations with a strong symbolic load, when notions of hierarchy, discipline, and what it means to be military in the face of the 'civilian' are formed. The conclusions dialogue with related studies, questioning the Army as the image of the nation, confirming trends, and bringing news, such as the growth of recruitment among civilians and the permanence of endogenous recruitment, but now among the low-ranking military. 2b1af7f3a8