Template:Infobox Person

Gilberto Passos Gil Moreira (born June 26, 1942), better known as Gilberto Gil (Template:IPA2), is a Brazilian singer, guitarist, and songwriter, known for both his musical innovation and his political commitment. From 2003 to 2008, he served as his country's Minister of Culture in the administration of President Luiz Inácio Lula da Silva.

Gil began playing music as a child and was still a teenager when he joined his first band. He started out as a bossa nova musician, eventually writing songs that reflected a new focus on political awareness and social activism. He was a key figure in the Música Popular Brasileira and Tropicalismo movements of the 1960s, alongside artists such as longtime collaborator Caetano Veloso. The Brazilian military regime that took power in 1964 saw both Gil and Veloso as a threat, and the two were held for nine months in 1969 before they were told to leave the country. Gil moved to London, but returned to the Brazilian state of Bahia in 1972 and continued his musical career, as well as working as a politician and environmental advocate.

Gil's musical style incorporates an eclectic range of influences, including rock, Brazilian genres including samba and forró, African music, and reggae.


Early years (1942–1963)Edit

Gilberto Gil was born to a middle class family in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, a teacher.[1] As a young boy, he attended a Marist Brothers school.[2]

Gil's interest in music was precocious: "When I was only two or two and a half," he recalls, "I told my mother I was going to become a musician."[3] He grew up listening to the forró music of his native northeast,[1] and took an interest in local street performers in Salvador.[4] Early on, he started learning to play the drums and began teaching himself the trumpet, learning by listening to Bob Nelson on the radio.[5] Gil's mother was his "chief supporter" in musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador.[3]

Gil was particularly influenced by singer and accordion player Luiz Gonzaga, whose music he describes as a combination of elements from multiple styles.[6] Gil began to sing and play the accordion in an emulation of Gonzaga's recordings.[6] In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes). Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and started playing bossa nova.[4]

Musical career (1963–present)Edit

Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963, and the two immediately began collaborating and performing together, releasing a single and EP soon afterwards.[1] Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nos, por Exemplo (Us, for Example).[5] Gil and the group continued to perform at the venue and he eventually became musical director of the concert series, along with Alcivando Luz.[7] Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly.[8]

Early on in the 1960s, Gil earned income primarily from composing jingles for television advertisements;[4] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[5] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[4] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement.[5] As Gil describes it, Tropicalismo (or Tropicália) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.[9] In the late 1960s he performed with the São Paulo psychedelic rock group Os Mutantes.

In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, spent three months in prison and another six under house arrest,[9] before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso.[10] Explanations differ on the reason given by the Brazilian government to the two for their imprisonment. Oliver Tepel cites "no stated reason"[1] and Sue Steward, "his oblique lyrics criticising the military dictatorship".[11] Gil describes the government's position towards his actions as "represent[ing] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous."[12] During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy.[1] He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which later appeared on his 2006 album Gil Luminoso.[13] Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil.[14] While staying in London, Gil performed with musical groups including Yes, Pink Floyd, and the Incredible String Band.[4]

File:Gilberto Gil with guitar.jpg

When he went back to Bahia in 1972, Gil focused on his musical career and environmental advocacy work.[15] He released Expresso 2222 the same year, from which two popular singles were released. Gil toured the United States and recorded an English-language album as well, continuing to release a steady stream of albums throughout the 1970s, including Realce and Refazenda. In the early 1970s Gil participated in a resurgence of the Afro-Brazilian afoxé tradition in Carnaval, joining the Filhos de Gandhi (Sons of Gandhi) performance group,[16] which only allowed black Brazilians to join.[17] Gil also recorded a song titled "Patuscada de Gandhi" written about the Filhos de Gandhi that appeared on his 1977 album Refavela. Greater attention was paid to afoxé groups in Carnaval because of the publicity that Gil had provided to them through his involvement; the groups increased in size as well.[18] In the late 1970s he left Brazil for Africa and visited Senegal, Côte d'Ivoire, and Nigeria. He also worked with Jimmy Cliff and released a cover of "No Woman, No Cry" with him in 1980, a number one hit that introduced reggae to Brazil.[4]

Gil won the 1998 Grammy Award for Best World Music Album for Quanta Live and the 2005 Grammy Award for Best Contemporary World Music Album for Eletracústico. In May 2005 he was awarded the Polar Music Prize by Carl XVI Gustaf of Sweden in Stockholm,[19] the prize's first Latin American recipient. On October 16, 2005 he received the Légion d'honneur from the French government, coinciding with the Année du Brésil en France (Brazil's Year in France).[20]

Political career (1987–present)Edit

File:Luiz Inácio Lula da Silva and GIlberto Gil.jpg

Gil's political career began in 1987, when he was elected to a local post in Bahia and became the Salvador secretary of culture.[11] In 1988, he was elected to the city council with exactly 11,111 votes, and subsequently became city commissioner for environmental protection; in 1990, Gil left the Brazilian Democratic Movement Party and joined the Green Party.[21] During this period, Gil founded the environmental protection organization Onda Azul (Blue Wave), which worked to protect Brazilian waters.[15] He maintained a full-time musical career at the same time, and withdrew temporarily from politics in 1992, following the release Parabolicamará, considered to be one of his most successful efforts.[1] On October 16, 2001 Gil accepted his nomination to be a Goodwill Ambassador for the Food and Agriculture Organization of the United Nations, having promoted the organization before his appointment.[22]

When President Luiz Inácio Lula da Silva took office in January 2003, he chose Gil as Brazil's new Minister of Culture, only the second black person to serve in the country's cabinet. The appointment was controversial among political and artistic figures and the Brazilian press; a remark Gil made about difficulties with his salary received particular criticism.[23] Gil is not a member of the Lula's Workers' Party and did not participate in creating its cultural program.[23]

Shortly after becoming Minister, Gil began a partnership between Brazil and Creative Commons. As Minister, he has sponsored a program called Culture Points, which gives grants to provide music technology and education to people living in poor areas of the country's cities.[24] Gil has since asserted that "You've now got young people who are becoming designers, who are making it into media and being used more and more by television and samba schools and revitalizing degraded neighborhoods. It's a different vision of the role of government, a new role."[25] Gil has also expressed interest in a program that will establish an Internet repository of freely downloadable Brazilian music.[12] Since Gil's appointment, the department's expenditures have increased by over 50 percent.[26]

In November 2007, Gil announced his intention to resign from his post due to a vocal cord polyp.[27] Lula rejected Gil's first two attempts to resign, but accepted another request in July 2008. Lula said on this occasion that Gil was "going back to being a great artist, going back to giving priority to what is most important" to him.[28]

Personal lifeEdit

Gil's fourth wife is Flora Nair Giordano Gil Moreira. The couple has five children, four of whom are still living. The fifth child died in a car accident in 1990.[29] Preta Gil, an actress and singer, is his daughter.

Gil's religious beliefs have changed significantly over his lifetime. Originally, he was a Christian, but was later influenced by Eastern philosophy and religion, and, later still, explored African spirituality. He is now an agnostic.[29] He practices yoga and is a vegetarian.[9] In 2006, Gil accepted an honorary doctorate from Tulane University, alongside George H. W. Bush and William J. Clinton, in recognition of his contributions to music and his country.

Gil has been open about the fact that that he has smoked marijuana for much of his life. He has said he believes "that drugs should be treated like pharmaceuticals, legalized, although under the same regulations and monitoring as medicines".[30]

Musical style and influencesEdit

Gil typically sings in a baritone but sometimes shifts to scat singing or falsetto. His lyrics are on subjects that range from philosophy to religion, folktales, and wordplay.[31] Gil's musical style incorporates a broad range of influences. The first music he was exposed to included The Beatles and street performers in various metropolitan areas of Bahia. During his first years as a musician, Gil performed primarily in a blend of traditional Brazilian styles with two-step rhythms, such as baião and samba.[3] He states that "My first phase was one of traditional forms. Nothing experimental at all. Caetano [Veloso] and I followed in the tradition of Luiz Gonzaga and Jackson do Pandeiro, combining samba with northeastern music."[3]

As one of the pioneers of Tropicalismo, influences from genres such as rock and punk have been pervasive in his recordings, as they have been in those of other stars of the period, including Caetano Veloso and Tom Zé. Gil's interest in the blues-based music of rock pioneer Jimi Hendrix, in particular, has been described by Veloso as having "extremely important consequences for Brazilian music".[32] Veloso also noted the influence of Brazilian guitarist and singer Jorge Ben on Gil's musical style, coupled with that of traditional music.[32] After the height of Tropicalismo in the 1960s, Gil became increasingly interested in black culture, particularly in the Jamaican musical genre of reggae. He described the genre as "a form of democratizing, internationalizing, speaking a new language, a Heideggerian form of passing along fundamental messages".[33]

Visiting Lagos, Nigeria, in 1976, Gil met fellow musicians Fela Kuti and Stevie Wonder. He became inspired by African music and later integrated some of the styles he had heard in Africa, such as juju and highlife, into his own recordings.[34] One of the most famous of these African-influenced records was the 1977 album Refavela, which included "No Norte da Saudade" (To the North of Sadness), a song heavily influenced by reggae.[35] When Gil returned to Brazil after the visit, he focused on Afro-Brazilian culture, becoming a member of the Carnaval afoxé group Filhos de Gandhi.

Conversely, his 1980s musical repertoire presented an increased development of dance trends, such as disco and soul, as well as the previous incorporation of rock and punk.[33] However, Gil says that his 1994 album Acoustic was not such a new direction, as he had previously performed unplugged with Caetano Veloso. He describes the method of playing as easier than other types of performance, as the energy of acoustic playing is simple and influenced by its roots.[36] Gil has been criticized for a conflicting involvement in both authentic Brazilian music and the worldwide moneymaking arena. He has had to walk a fine line, simultaneously remaining true to traditional Bahian styles and engaging with commercial markets. Listeners in Bahia have been much more accepting of his blend of music styles, while those in southeast Brazil felt at odds with it.[33]


  • 1967: Louvação
  • 1968: Gilberto Gil (with Os Mutantes)
  • 1969: Gilberto Gil (Cérebro Eletrônico)
  • 1971: Gilberto Gil (Nega)
  • 1972: Barra 69: Caetano E Gil Ao Vivo Na Bahia
  • 1972: Expresso 2222
  • 1974: Gilberto Gil Ao Vivo
  • 1975: Refazenda
  • 1977: Refavela
  • 1978: Gilberto Gil Ao Vivo Em Montreux
  • 1978: Refestança
  • 1979: Nightingale
  • 1979: Realce
  • 1981: Brasil
  • 1981: Luar (A Gente Precisa Ver o Luar)
  • 1981: Um Banda Um
  • 1983: Extra
  • 1984: Quilombo (Trilha Sonora)
  • 1984: Raça Humana
  • 1985: Dia Dorim Noite Neon
  • 1987: Gilberto Gil Em Concerto
  • 1987: Soy Loco Por Ti America
  • 1987: Trem Para As Estrelas (Trilha Sonora)
  • 1988: Ao Vivo Em Tóquio (Live in Tokyo)
  • 1989: O Eterno Deus Mu Dança
  • 1991: Parabolicamará
  • 1994: Acoustic
  • 1995: Esoterico: Live in USA 1994
  • 1995: Oriente: Live in Tokyo
  • 1996: Em Concerto
  • 1996: Luar
  • 1997: Indigo Blue
  • 1997: Quanta
  • 1998: Ao Vivo Em Tóquio (Live in Tokyo)
  • 1998: Copacabana Mon Amour
  • 1998: O Sol de Oslo
  • 1998: O Viramundo (Ao Vivo)
  • 1998: Quanta Live
  • 2000: Me, You, Them
  • 2001: Milton and Gil
  • 2001: São João Vivo
  • 2002: Kaya N'Gan Daya
  • 2002: Z: 300 Anos de Zumbi
  • 2004: Eletrácustico
  • 2005: Ao Vivo
  • 2005: As Canções de Eu Tu Eles
  • 2005: Soul of Brazil
  • 2006: Gil Luminoso
  • 2006: Rhythms of Bahia
  • 2008: Banda Larga Cordel

Awards, nominations, and positionsEdit

Year Work Award Result
1981 N/A Anchieta Medal—São Paulo City Council Won
1986 N/A The Gold Dolphin—Government of the State of Rio de Janeiro Won
1990 N/A Ordre des Arts et des LettresMinistry of Culture of France Won
1990 N/A Commendator of the Rio Branco Order Won
1997 N/A Ordre national du Mérite Won
1998 Eletracústico Grammy AwardBest Contemporary World Music Album Won
1999 N/A Order of Cultural Merit—Ministry of Culture Won
1999 N/A UNESCO Artist for PeaceUnited Nations Won
2001 Eu Tu Eles Cinema Brazil Grand Prize—Best Music Nominated
2001 As Canções De Eu, Tu, Eles Latin Grammy Award—Brazilian Roots/Regional Album Won
2001 N/A Goodwill AmbassadorFood and Agriculture Organization Won
2002 Viva São João! Passista Trophy—Long Documentary - Best Score Won
2002 São João Vivo Latin Grammy Award—Best Brazilian Roots/Regional Album Won
2005 Quanta Live Grammy AwardBest World Music Album Won
2005 N/A Polar Music Prize Won
2005 N/A Légion d'honneur Won




External linksEdit

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Template:Persondataan:Gilberto Gil cs:Gilberto Gil da:Gilberto Gil de:Gilberto Gil es:Gilberto Gil eo:Gilberto Gil fr:Gilberto Gil io:Gilberto Gil id:Gilberto Gil it:Gilberto Gil he:ז'ילברטו ז'יל sw:Gilberto Gil hu:Gilberto Gil ms:Gilberto Gil nl:Gilberto Gil no:Gilberto Gil oc:Gilberto Gil pl:Gilberto Gil pt:Gilberto Gil sl:Gilberto Gil fi:Gilberto Gil sv:Gilberto Gil

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