In 2008, many dates were observed: Joyce began the year celebrating her 60th birthday with a show at Mistura Fina, in Ipanema, Rio de Janeiro. Joyce's base recording for her tune "Aldeia de Ogum" was sampled by the hip-hop group Blackeyed Peas, remixed with a refrain by Sting, renamed "Magic," and used in the film Legally Blonde.
The original recording of "Tema Para Jobim" (Joyce/Gerry Mulligan), sung by Joyce and Milton Nascimento, was used in Robert Altman's The Player. Some of Joyce's songs were featured in Hollywood film soundtracks.
These included Jongo da Serrinha, forró in São Cristóvão, Teatro Rival, Mangueira, and Lapa-in short, wherever Brazilian music sprouts under the Carioca sun. In addition to the sessions with individual musicians and groups (usually shot in the musicians' homes or at music venues), Joyce presented general programs shot on location. Among them were Hermeto Pascoal, Época de Ouro, Paulo Jobim & Lisa Ono, Elton Medeiros, Done Ivone Lara, Milton Nascimento & Naná Vasconcelos, Edu Lobo, Carlos Lyra, João Donato, Roberto Menescal, Billy Blanco, Zélia Duncan, Marcos Valle & Ed Motta, Paulinho Moska & Mauricio Carrilho, Leila Pinheiro & Zezé Gonzaga, Herminio Bello de Carvalho, Doris Monteiro & Tito Madi, Clara Sandroni & Marcos Sacramento. In both phases, guest musicians discussed their work and played their music with Joyce.
#Ney matogrosso urubu malandro tv
Produced by MultiRio, a multimedia arm of the municipality of Rio de Janeiro, and first broadcast on the educational channel TVE, the program was revived in 2002 on the commercial TV Bandeirantes RJ.
#Ney matogrosso urubu malandro series
In 19, Joyce created and presented the highly acclaimed television series Cantos do Rio, a showcase for Rio de Janeiro and its musicians. Hard Bossa was the artist's first venture with the English label Far Out, which would go on to launch future successful projects. Joyce ao Vivo (1989) reprised some of Joyce's best-known songs and featured guest artists Chico Buarque and Boca Livre.Īnother album of her own compositions was recorded in 1999. Negro Demais no Coração (1988), an homage to Vinicius de Moraes with guest appearances by Caetano Veloso, Maria Bethânia, and Moraes Moreira, was nominated for the Prêmio Sharp de Música in the Best Female Singer and Best MPB Disc categories. Tom Jobim:Anos 60 (1987, with Gilson Peranzzetta) was a tribute to the composer who had just turned 60 and who wrote the text for back cover. Wilson Batista: o Samba Foi Sua Glória (1986) was recorded with the sambista Roberto Silva for Acervo Funarte. Saudade do Futuro (1985) with special guest, Milton Nascimento, opened with Lennon & McCartney's "When I'm 64" and concluded with "Ziriguidum 2001" (Aurênio/Tiãozinho da Mocidade/Gibi). Some journalists, like Sérgio Porto, criticized the 19-year old composer as "vulgar and immoral," while others, like Nelson Motta and Fernando Lobo, defended her "feminist posture"-something of which she had no notion at that time, wanting only to express herself in her own gender, as she had seen done by artists such as Billie Holiday and Edith Piaf.ĭuring the 1980s, the singer released seven discs, Água e Luz (1981) contained the hit "Monsieur Binot." Tardes Cariocas (1983) was an independent production that would receive the Chiquinha Gonzaga prize the following year. The song began with the line "I've been told/ that my man doesn't love me" and provoked controversy for its first-person feminine voice-never before attempted by any of the very few female songwriters in Brazil. Still in 1967, Joyce's song "Me Disseram" was a finalist in the second Festival Internacional da Canção (RJ). The experience at JB was enriching and interesting, but it would be interrupted by a series of events that culminated with her first contract for a large record label. Here she came to know and work with some of the greats of the profession she would choose as alternative, in case her dream of making music were not to come true. In 1967, while studying journalism at PUC (Pontifícia Universidade Católica do Rio de Janeiro), Joyce became an intern at the then Mecca of aspirant journalists, Caderno B (the cultural supplement) of Jornal do Brasil.
0 kommentar(er)
