English Version | Roteiro: What to see, what to read, what to do

Best Of: Books We left out so many titles that together they would make an entire library. But these will definitely add something new to your musical culture. Between unmissable biographies and wonderful photographic anthologies, there is a little bit of everything in this selection. We advise you to listen, sorry, to read, with the background noise of your favorite playlist. CAPITAL RECORDS, by Reuel Golden e Barney Hoskyns, Taschen (2021), € 100. GIRL IN A BAND, by Kim Gordon, Faber & Faber (2015), € 14,10. LIFE, by Keith Richards, Little, Brown & Company (2011), € 17,94. ROCK COVERS. 40TH ANNIVERSARY EDITION, by Robbie Busch, Jonathan Kirby and Julius Wiedemann, Taschen (2014), € 20. THE RECORD PLAYERS: DJ REVOLUTIONARIES, by Bill Brewster and Frank Broughton, Black Cat (2011), € 11. THE SMITHS: SONGS THAT SAVED YOUR LIFE, by Simon Goddard, Reynold & Hearn (2009), € 76. MA RAINEY’S BLACK BOTTOM, by Samuel G.Freedman and George C. Wolfe, Assouline (2020), € 60. CHRONICLES: VOLUME ONE, by Bob Dylan, Simon & Schuster (2004), € 23,76. SOUND BITES: EATING ON TOUR WITH FRANZ FERDINAND, by Alex Kapranos, Penguin Books (2007), € 11. LOVE IS A MIX TAPE: LIFE AND LOSS, ONE SONG AT A TIME, by Rob Sheffield, Crown (2007), € 36. STRANGER THAN KINDNESS, by Nick Cave, Canongate Books (2020), € 45,50. RITA LEE: UMA AUTOBIOGRAFIA, by Rita Lee, Globo Livros (2016), € 17,70. ANTÓNIO VARIAÇÕES - UMA BIOGRAFIA, by Bruno Horta and Helena Soares, Suma de Letras (2020), € 19,90. PAUL KLEE - PAINTING MUSIC, by Hajo Düchting, Prestel (2012), € 16,10. FACE IT: A MEMOIR, by Debbie Harry, Dey Street Books (2019), € 27,02. DEPECHE MODE BY ANTON CORBIJN, by Anton Corbijn and Reuel Golden, Taschen (2021), € 100. PLAY: IMAGES OF MUSIC, by Rankin, Rizzoli (2020), €37. PLEASE KILL ME: THE UNCESORED ORAL HISTORY OF PUNK, by Legs McNeil and Gillian McCain, Grove Press (2016), € 9. OH SO PRETTY: PUNK IN PRINT, 1976-80, by Toby Mott, Phaidon (2016), € 27,95. AMY WINEHOUSE, by Blake Wood, Taschen (2018), € 30.   Best Of: Music Videos Video Killed The Radio Star was the first music video to air on MTV, in August 1981. At the time, it was widely believed that television had killed the radio stars, but at this distance, between streaming platforms and online broadcast channels. music, it seems like technology killed everything else. If you also miss the days when the cherry on top of a hit was a music video, review them all. They are part of history. When Blondie released Heart Of Glass in 1979, the world was entering a disco era that wouldn't come out until much later. The sequins, the glamour, the mirror balls... All this was synonymous with a certain irreverence - or decay - highly desired by a youth thirsty for new things. Debbie Harry, the lead singer of the band, was the perfect poster girl for this time of change. There's nothing extraordinary about the music video, the singer "just is" on top of a stage, performing the music, and yet everything about it is fresh and refreshing. The same happens with Let’s Dance, by David Bowie, or Thriller, by Michael Jackson, both from 1983, and both considered revolutionary in the history of music, each in its own way. Impossible to make this list without referring Queen's I Want To Break Free (1984) a humorous cry of gender emancipation - Freddie Mercury was way ahead of us all - and A-Ha's Take On Me (1985), which elevated the concept of collaboration between media, with fabulous illustrations bringing the protagonists of your music video to life. The '80s would be full of great music, and U2 did a lot of it. With Where The Streets Have No Name, in 1987, they raised the bar: the video was recorded on the rooftop of a liquor store in downtown Los Angeles, which attracted more than a thousand people and forced a police apparatus... which was registered for posterity. For posterity, there were also the “controversial” scenes from Madonna's Like A Prayer - we believe you know what we're talking about - and the high doses of sexuality contained in Chris Isaak's Wicked Game. The two songs, referring to 1989, close a decade of excess and euphoria. That's what you feel with the unsettling minimalism of 1990's Nothing Compares 2, U by Sinéad O'Connor - it's impossible to forget O'Connor's piercing gaze, as if he's accusing us of something. Times change, wills change. In 1991 R.E.M.'s Losing My Religion and Nirvana's Smells Like Teen Spirit came out, and both could have been done by now. Both feel a scream of revolt and despair; the aesthetic, that, is timeless. November Rain, by Guns N’ Roses, released in 1992, was the music video to end all music videos - if you've never seen it, this is a good excuse - both for the investment (it remains one of the most expensive ever) and for the storytelling. Let's not say anything else. But let's say yes, we always want to go back to 1993 and Aerosmith's Crazy, with Alicia Silverstone and Liv Tyler, to the hidden sadness of TLC's Waterfalls and the melancholy of The Smashing Pumpkins' Tonight, Tonight, both from 1995. A different, maybe "happier" song is the Spice Girls' Wannabe, a stroke of genius that got them dancing on top of a table of well-behaved ladies - and propelled them to the top of the 1996 tops. It was in that year that Alanis Morissette allowed herself to be filmed in a car, with various alter egos, to show Ironic, and that No Doubt burst onto the music scene with Don't Speak, which became an anthem to lack of love. The best was yet to come. In 1997 the world had the honor of meeting Daft Punk with Around The World, an alien in the midst of everything that was done at the time, and who seemed to open the way for what was to come - we are thinking of a few videos, like Clint Eastwood (2001), by Gorillaz, Seven Nation Army (2003), by The White Stripes, Night And Day (2007), by Hot Chip, Bad Romance (2009), by Lady Gaga, or Chandelier (2014), by Sia. We make this statement because Around The World was directed by Michel Gondry, the man behind cinematographic masterpieces like Eternal Sunshine of the Spotless Mind (2004) or The Science of Sleep (2006). It may not have been Oscar-worthy, but the music video for ...Baby One More Time (1998), which featured Britney Spears as Madonna's worthy successor, was named by Billboard as one of the best of the 90s - and, of course, by all who saw it for the first time 23 years ago. Eminen's Stan was a punch in the stomach, did he not mark the entry into the new millennium, and Fatboy Slim's Weapon of Choice, directed by Spike Jonze, is poetry for the senses. As it turns out, video didn’t kill the radio star, quite the opposite. There are artists who stayed with us on the retina more for aesthetics than for sound - the OutKast and2003's amazing Hey Ya! are a good example - and others who kept improving both the aesthetics and the sound - they just didn't improve their temper. Runaway (2010), by Kanye West, is one of the best songs of recent years, and the video does not disappoint, quite the contrary. With artistic direction by the reputed Vanessa Beecroft, cinematography belongs to Kyle Kibbe. And West, of course. If Lemonade (2016) wasn't a movie it would be here. Since it is, we mention Single Ladies (2008), because it is almost impossible to make a compendium of 21st century music without including Beyoncé, alongside Miley Cyrus' Wrecking Ball (2013). And we close with This Is America (2018), by Childish Gambino, because nothing so great has appeared since then. Best Of: Records Por Este Rio Abaixo (Sony Music Entertainment) is Pedro Mafama's long-awaited debut album. The musician has the participation of Ana Moura, Profjam, Branko, Tristany, and includes samples by Giacometti and Dead Combo. The advance singles, Estaleiro and Contra a Maré, are part of an alignment of 13 songs, produced by Mafama and Pedro da Linha. There are those who compare her to Billie Eilish, but Big Piig, Irish singer and songwriter, is proving that she intends to occupy her own place in the contemporary music scene. His new album, The Sky Is Bleeding (Sony Music), is a mix of grunge melancholy and jazzy sounds that, as New Musical Express pointed out, seem inspired by a David Lynch movie. The confinement brought together Nick Cave and Warren Ellis, who recorded Carnage (Goliath Records), the first album by the two longtime collaborators as a duo. It was supposed to be released in late May, but pandemic constraints forced the release date to be pushed back to June 18th. According to Cave, this is a “brutal but very beautiful record, nestled in a community catastrophe.” Ellis, for his part, said that the recording process, although intense, was magical: "The eight songs were there after two and a half days." It's called Delta Kream (Nonesuch Records) and announces the return of the Black Keys. That alone was noteworthy, because the Black Keys need no introduction, but the news doesn't stop there: the album celebrates the band's origins, featuring eleven typical Mississippi hill country blues tracks, which they enjoy since their teen years, including songs by RL Burnside and Junior Kimbrough, among others. Out of curiosity, the album owes its title to the iconic photograph by William Eggleston, which is also the cover of the album. Hélio Morais, Linda Martini and PAUS musician, makes his solo debut with MURAIS (Sony Music), ten "simple, without great pretensions" songs. Produced by Benke Ferraz, guitarist and producer of Boogarins, the album includes the singles Catatua, Até de Manhã and the latest Marialva, with the participation of Giovani Cidreira. The visual interpretation of these narratives was in charge of Ana Viotti. With all due respect for the other artists present in this selection, Mingus At Carnegie Hall (Rhino Records) is the news that excites us the most. Charles Mingus was one of the greatest figures in American - and world - music of the 20th century, and to be able to hear, in full, his concert of January 19, 1974 in the famous New York concert hall, plus 72 minutes of unpublished material, it's like a dream come true. It's not very far to know that Rodrigo Amarante's Drama (Polyvinyl) is coming - literally speaking, as the singer has announced two concerts in Portugal, for April 2022. Until then, it's all about staying with the unmistakable timbre of the artist, who designed the album in Los Angeles, where it found itself "locked" because of the pandemic. “Blocking and limiting produced great ideas. I started the album wanting to focus on rhythm and melody, abandon those rich chord progressions and modulations that I inherited from Brazil and be more direct for a while. As I wrote, I realized that there was a trigger for me in this attempt, a shadow of the shaved-head boy I should be, sucking it up. Instead, I embraced the complications I inherited.” Best Of: Musicals We challenge any reader to keep quiet, on the sofa, after pressing the play button to view any of these masterpieces. Let's start at the beginning, which is the same as saying, by Singin’ In The Rain (1952). Widely known for its dance scenes, starring Gene Kelly and Debbie Reynolds, this is the first musical to see for any movie lover. You can continue with Funny Face (1957), the more-than-perfect pas de deux between Audrey Hepburn and Fred Astaire, and Guys And Dolls (1955), a cinematic orgy that brings together Frank Sinatra and Marlon Brando, among other silver screen heavyweights art. Steven Spielberg is said to be doing a remake of West Side Story (1961) but, let's face it, is it possible to surpass the magic of the original film? It doesn't seem to us. Also because, for us, Maria will always be Natalie Woods, and any other actress trying to “put on her shoes” will have to be content with the sad fact that she is a ghost (no, we're not mistaken) of the original heroine. Another mandatory title is My Fair Lady (1964), in which Hepburn, or rather Eliza Doolittle, transforms into a modern Cinderella. If you're following our chronological order, it's time to revisit The Sound of Music (1965) and start humming “The hills are alive...” And we won't say more, because it seems redundant. Follow, without hesitation, to Funny Girl (1968), one of Barbara Streisand's best roles, which earned her a hit, Don't Rain on My Parade. Hit is, by the way, the right word for Cabaret (1972), which won eight Oscars, including Best Leading Actress for Liza Minnelli, and Grease (1978) which brought together the wonder duo Olivia Newton-John and John Travolta. The early 1980s brought Fame, Alan Parker's film about a students' dance school that released Irene Cara, who three years later would reach the pinnacle of her career with Flashdance...What A Feelin', the theme song of Flashdance - and that also fits very well on this list. In a less danceable register, you must see Annie (1982) because, as the protagonist tells us, at one point, "The sun will come out tomorrow." Most recent? Of course. There is Moulin Rouge (2001), Baz Luhrmann's megalomaniac trip that brought Nicole Kidman and Ewan McGregor together in a love story with (spoiler) unhappy ending. There's Chicago (2002), a tête-à-tête in the art of acting between Catherine Zeta-Jones and Renee Zellweger that made us jump out of the cinema chair - not to mention the portent that is its soundtrack. There is Mamma Mia! (2008), and what about this film, which is an anthem to ABBA's repertoire? If it's good for Meryl Streep, it's good for us. There's Les Miserables (2012), by Tom Hooper, who managed the feat of putting together a dream cast and getting half the world reading Victor Hugo's novel. There's La La Land, the hurricane that, in 2016, received 14 Oscar nominations, eventually winning six, including Best Achievement and Best Actress. There's Rocketman (2019), the baffling biopic about the life of Elton John. If you got to this point and noticed the lack of Cats, you noticed well. Andrew Lloyd Webber's musical, which premiered in May 1981, has yet to have a film adaptation to match. As with most of his productions: both Jesus Christ Superstar (1970) and The Phantom of The Opera (1986) have already gone to the big screen, but not with the magnificence they deserve. Translated from the original, as part of Vogue Portugal's Music Issue, published in june 2021.