6 - Friday, November 16, 2012

The Michigan Daily - michigandailycom

6 - Friday, November16, 2012 The Michigan Daily - michigandailycom

PER ORMAC PRVL
Gil to perform
new, diverse work

CONCERT PREVIEW
Film scores to meet
classics in Pops show

Brazilian musician
blends influence
from many countries
By MAX RADWIN
For the Daily
Gilberto Gil - musician, Trop-
icalista, politician, activist and
even former exile - will be mak-
ing a stop at Hill
Auditorium on Gilberto Gil
Nov. 16 for his
North Ameri- Fridayat
can tour. Gil 8 p.m.
is promoting
his first album Hill Auditorium
since 2010, Con- From $15
certo de cordas
& mdquinas de
ritmo, which was released early
last month.
This is the Brazilian pop star's
52nd album, and his discography
includes five platinum albums
and 12 gold records. Gil has won
seven Grammy Awards during a
career spanning nearly 50 years,
the most recent for 2005's Ele-
tracistico.
Gil turned 70 in June, but
there's no sign of him slowing
down yet. Gil remains the art-
ist that he was in the 1960s, '70s
and so on, sponging up cultural
influences and infusing them into
his experimental and constantly
changing style of music.
"I wouldn't put him under any
single label," said Christi-Anne
Castro, a Musicology professor
in the School of Music, Theatre &
Dance who will be speaking at an
Arts & Eats event prior to the per-
formance. "It's better to call him
a great musical innovator ... you
couldn't give him a single genre,"
she said of Gil.
Gil is perhaps most famous for
his participation with the Trop-
icalia movement that developed
during Brazil's military dictator-
ship in the late 1960s and empha-
sized the fusion of Brazilian
culture and other foreign influ-
ences. At a time when everyone
was rejecting cultural imperial-
ism in favor of exclusively tradi-

By JONATHAN ODDEN
Daily Arts Writer
The University of Michigan
Pops Orchestra, the oldest col-
legiate pops orchestra in the
United States
and the only
fully student- Pops Takes
run orchestra Flight
on campus,
returns this Sunday at
fall right where 7 p.m.
it left off last Michigan Theater
spring - blend- From $5
ing the classical
canon with pop
classics and film scores, all with
a dash of humor and a passion for
music.:
The orchestra's upcoming fall
concert, "Pops Takes Flight" -
to be performed at the Michigan
Theateron Sunday - is exactly
what it sounds like: a tribute to
everything light, airy and upbeat
about air travel and flying.
"Flight is a really good theme
for this concert for many rea-
sons," said Jennifer Wei, an LSA
senior and external publicity
coordinator for the orchestra.
"We really wanted to capture,
first-off, the thrill of flight. It's
so exciting, and I think orches-
tral music really captures that
mix of excitement and anxiety,
but we also thought that music
about flight was so airy - pun
intended - and that it would
fit well with the winter cold
approaching."
Picking through the numer-
ous options was difficult, Wei
said.

"Ho
pieces
theme?
phy of]
bring a
enjoy. N
pieces1
do tha
in whi
too."
For
the orc
iconic
canon
theme
maus
and Str
"Ta
examp
and cr
The cL
ing rea
flighta
orable
pieces t
and in
they re
ThI
Po]
P
Tho
these
the me
audien
scores,
not dis

w do you choose which "A big focus of the concert is
speak more of less to the movie scores," Wei said. "Moyie
" Wei said. "The philoso- scores really tie the audience
Pops is that we're trying to into the imagery of the music and
concert that everyone can there are so many movie themes
We're really happy withthe that are all about flight."
we're playing because they Among the more contempo-
t and the interactive ways rary scores the orchestra will be
ch we're playing them do, playing are selections from "Up,"
"How to Train Your Dragon" and
the classical connoisseur, Peter Pan's theme from "Hook."
hestrawill be playing three "These. pieces go from light
pieces from the classical and airy moments to bombastic
that makes the concert's sweeps," Wei said. "The audi-
soar: Strauss' Die Fleder- ence will really feel they're soar-
Overture, Holst's Jupiter ing around in the clouds during
'avinsky's The Firebird. these pieces and its so much
ke the Stravinsky piece for fun."
le," Wei said. "It's rushing A unique point of the concert
ashing, with a lot of energy. will be their rendition.of "Defy-
assical pieces we're play- ing Gravity" from the musi-
ly connect with out idea of cal "Wicked." Rather than an
nd they're also really mem- ordinary pit orchestra arrange-
and known works. They're ment, the Pops will play a full
that the audience has heard orchestra rendition of the piece,
the context of the concert, accompanied by vocals.
ally shine." "The rendition we're doing
is fantastic and we can't wait to
show it off," Wei said. "It'll give
hBroadway a run for its money."
e M ichigan But the music is only part
ps Orchestra of the Pops' concerts. They're
also known for their creative
irepares for skits and films that break up the
music and bring the audience
lift off. into the show.
"Not to give too much away,
but this is probably our most
ambitious concert yet," Wei said.
ugh the concert features "Let me just say that there are
famous classical works, more costumes, jokes and even
mbers of Pops know their Nerf guns this year. We just
ce is also there for popular want to make the concert fun for
and their fall concert does every member of the audience in
appoint, explained Wei. some way, and I think we do."

Gil and his partner, Caetano Veloso, were exiled from Brazil in 1969

tional Brazilian music, Gil and
his partner Caetano Veloso, were
integrating The Beatles and other
electronic rock artists into local
styles like forro.
"They were very much coun-
terculture and counter-dictator-
ship," said Gil's childhood friend
Bebete Martins, who is head of
the University's Brazil Initiative
at the Center for Latin American
and Caribbean Studies. ,
"But they refused to fit into the
mold of the protest music," Mar-
tins said. "They thought music
and arts and culture should be
open to everything. They sent a
message: Please bring the elec-
tronic.music."
In 1969, the Tropicalia move-
ment came to an end when the
Brazilian government exiled Gil
and Veloso. Gil spent two and
a half years in London, where
he was exposed to new musical
influences. He immersed himself
in the city's rock scene, playing
with Pink Floyd and producing a
solo album in English.
Gil was also introduced to reg-
gae, a genre that severely influ-
enced his music. He would later
go on to perform with Jimmy
Cliff and cover Bob Marley's "No

Woman No Cry."
Gil was appointed Brazil's
Minister of Culture in 2003, dur-
ing which he applied a mental-
ity of cultural expansiveness and
artistic open-mindedness that he
uses in his own music.
"He wanted to help specific
cultural initiatives not in the
main stream," Martins said.
"(The) little manifestations of
cultural traditions in the very
remote areas of Brazil."
Gil resigned from his gov-
ernment post in 2008 to focus
solely on making music. Today,
he tours and adds to an oeuvre
that is already diverse and influ-
ential.
"It's a great opportunity to
see someone so talented and so
diverse in his work," Martins
said of Gil's appeal to the student
body. "Webelieve in freedom. We
want to be independent. We want
to learn about different things.
We are curious. We are eager to
experience new things and learn
more. That's what you want (out
of a performance)."
"He's not Lady Gaga, but I
have to say, he could very easily
perform with Lady Gaga. And it
would be great," Martins added.

#YOLF
(You Only Live Forever)
WHEN YOU'RE A VAMPIRE.
FOLLOW US. WE'LL TURN YOU.

I

@michdailyarts

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