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Caetano Veloso Net Worth
How rich is Caetano Veloso? For this question we spent 18 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Musicians
Total Net Worth at the moment 2024 year – is about $180,2 Million.
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Biography
Caetano Veloso information Birth date: August 7, 1942 Birth place: Santo Amaro da Purifica??o, Bahia, Brazil Profession:Soundtrack, Composer, Music Department
Height, Weight:
How tall is Caetano Veloso – 1,66m.
How much weight is Caetano Veloso – 88kg
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Wiki
Biography,Early years (1942–69)O LeaozinhoA 19-second sample of O Leaozinho, a song recorded relatively early in Velosos career.Problems playing this file? See media help.Veloso was born in Santo Amaro da Purificacao, Bahia, the fifth of seven children of Jose Teles Veloso (1901–1983) and Claudionor Viana Teles Veloso (1907–2012). His childhood was influenced greatly by artistic endeavors: he was interested in both literature and filmmaking as a child, but focused mainly on music. The musical style of bossa nova and Joao Gilberto, one of its most prominent exponents, were major influences on Velosos music as he grew up. Veloso first heard Gilberto at 17 years old, and describes the musician as his supreme master. He recognizes Gilbertos contribution to Brazilian music as new—illuminating the tradition of Brazilian music and paving the way for future innovation. Veloso moved to the Bahian port city of Salvador as a teenager, the city in which Gilberto lived and a center of Afro-Brazilian culture and music.In 1965 Veloso moved again to Rio de Janeiro, with his sister Maria Bethania, also a musician. Shortly after the move, Veloso won a lyrics contest for his composition Um Dia and was signed to Philips Records. On 21 October 1967 Veloso won fourth prize and gained a standing ovation at the third annual Brazil Popular Music Festival with his song Alegria, Alegria. on which he was backed by Sao Paulo group Beat Boys, along with the performance of his friend Gilberto Gil, who was backed by psychedelic band Os Mutantes, this marked the first time that rock bands had performed at the festival. During this period, Veloso, Bethania, Gilberto Gil, Gal Costa, Tom Ze, and Os Mutantes developed Tropicalismo, which fused Brazilian pop with rock and roll and avant-garde music. Veloso describes the movement as a wish to be different – not defensive like the right-wing Brazilian military government, which vehemently opposed the movement. Although Gil and Velosos performances at the 1967 MBP Festival were rapturously received, within a year, Tropicalismo had become a deeply divisive issue among Brazils youth audience, with Marxist-influenced college students of the Brazilian left wing condemning Tropicalismo, because they believed it commercialized Brazilian traditional music by incorporating musical influence from other cultures, specifically the United States.The musical manifesto of the Tropicalist movement was the landmark collaborative LP Tropicalia: ou Panis et Circencis (Tropicalia: or Bread and Circuses), issued in mid-1968, which brought together the talents of Veloso, Os Mutantes, Gilberto Gil, Tom Ze and Gal Costa, with arrangements by avant-garde composer-arranger Rogerio Duprat (who had studied with Pierre Boulez) and lyrical contributions from poet Torquato Neto. The albums group cover photograph depicted the collective holding a variety of objects and images, in a deliberate reference to the cover of The Beatles Sgt. Peppers Lonely Hearts Club Band.The tensions between the Tropicalistas and the student left peaked in September 1968 with Velosos now-legendary performances at the third annual International Song Festival, held at the Catholic University in Rio, where the audience included a large contingent of students who were vehemently opposed to the Tropicalistas. When Veloso (backed by Os Mutantes) performed in the first round of the Festivals song competition on 12 September, he was initially greeted with enthusiastic applause, but the situation soon turned ugly. Dressed in a shiny green plastic suit, festooned with electrical wires and necklaces strung with animal teeth, Veloso provoked the students with his lurid costume, his sensual body movements and his startling new psychedelic music, and the performers were soon being bombarded with loud insults, jeers and boos from the students, who became even more incensed when American pop singer John Dandurand made a surprise appearance on stage during the song.The ideological conflict climaxed three days later on 15 September when Veloso returned for the second round of the competition, performing a specially-written new song entitled E Proibido Proibir (It is Forbidden to Forbid). The leftist students began hissing and booing as soon as Velosos name was announced, and when he began his performance, his overtly sexual stage moves and the experimental music of Os Mutantes again provoked a wild reaction – the students began booing so loudly that the performers could barely be heard, and a section of the crowd then stood up and turned their backs to the stage, prompting Os Mutantes to turn their backs on the audience. As the performance continued, the students pelted the stage with fruit, vegetables, eggs, paper balls and anything else that came to hand. Veloso then stopped singing and launched into an impassioned monologue, in which he excoriated the students for their conservatism. After being joined by Gilberto Gil, who came on stage to show his support, Veloso finished his diatribe by telling the students … if you are the same in politics as you are in aesthetics, we’re done for! and declaring he would no longer compete in music festivals. He then deliberately finished the song out of tune, angrily shouted Enough! and walked off arm-in-arm with Gil and Os Mutantes. A studio version of the song was later released as a single, and the closing section of the tumultuous live performance featuring Velosos speech, was issued as the singles B-side. [103] Even though Tropicalismo was controversial among traditional critics, it introduced to Musica popular brasileira new elements for making music with an eclectic style.Veloso studied philosophy at the Universidade Federal da Bahia, which influenced both his artistic expression and viewpoint on life. Two of his favorite philosophers were Jean-Paul Sartre and Martin Heidegger. Velosos leftist political stance earned him the enmity of Brazils military dictatorship which ruled until 1985, his songs were frequently censored and some banned. Veloso and Gil were both arrested in February 1969 and held in prison for three months, followed by a further four months under house arrest, they were eventually released on condition that they leave the country, and spent the next few years in exile. He said that they didnt imprison us for any song or any particular thing that we said, ascribing the governments reaction to its unfamiliarity with the cultural phenomenon of Tropicalia—they seemed to say We might as well put them in prison. The federal police detained the two and flew them to an unknown destination. Finally, Veloso and Gil lived out their exile in London, England. When Caetano was asked about his experience there he says, London felt dark, and I felt far away from myself. Nevertheless, the two improved their music there and were asked to make a musical production with the producer Ralph Mace.Musical career (1972–present)Veloso performs in Lisbon, Portugal in 2007.Velosos work upon his return in 1972 was often characterized by frequent merging not only of international styles but of Brazilian folkloric styles and rhythms as well. His popularity grew outside Brazil in the 1980s, especially in Israel, Greece, Portugal, France, and Africa. His records released in the United States, such as Estrangeiro, helped gain him a larger audience.To celebrate 25 years of Tropicalismo, Veloso and Gilberto Gil released a CD called Tropicalia 2 in 1993. One song, Haiti, attracted peoples attention during the time, especially because it included powerful statements about sociopolitical issues present in Haiti and also in Brazil. Issues addressed in the song included ethnicity, poverty, homelessness, and capital corruption in the AIDS pandemic.[11] By 2004, he was one of the most respected and prolific international pop stars, with more than 50 recordings available including songs in film soundtracks of Michelangelo Antonionis Eros, Pedro Almodovars Hable con ella, and Frida, for which he performed at the 75th Academy Awards but did not win. In 2002 Veloso published an account of his early years and the Tropicalismo movement, Tropical Truth: A Story of Music and Revolution in Brazil.[12]His first all-English CD was A Foreign Sound (2004), which covers Nirvanas Come as You Are and compositions from the Great American Songbook such as Carioca (music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn), Always (music and lyrics by Irving Berlin), Manhattan (music by Richard Rodgers and lyrics by Lorenz Hart), Love for Sale (music and lyrics by Cole Porter), and Something Good (music and lyrics by Richard Rodgers). Six of the seven songs on his third eponymous album, released in 1971, were also in English.Veloso has contributed songs to two AIDS benefit compilation albums produced by the Red Hot Organization: Red Hot + Rio (1996) and Onda Sonora: Red Hot + Lisbon (1998).In 2011, he again contributed two songs to the Red Hot Organizations most recent compilation album, Red Hot + Rio 2. The two tracks include a remix of Terra by Prefuse 73 (3 Mellotrons in a Quiet Room Version) and Dreamworld: Marco de Canaveses”, in collaboration with David Byrne.His September 2006 album, Ce, was released by Nonesuch Records in the United States. It won two Latin Grammy Awards, one for best singer-songwriter[13] and one for Best Portuguese Song, Nao Me Arrependo.[14]With a total of nine Latin Grammy Awards and two Grammy Awards, Veloso has received more than any other Brazilian performer. On November 14, 2012, Veloso was also honored as the Latin Recording Academy Person of the Year.Veloso has been called one of the greatest songwriters of the century[15] and a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney.In January 2016, Caetano Veloso was a featured artist at the convention of the MLA, Modern Language Association, in Austin, Texas. Before a SRO crowd, he was interviewed on stage by two luminaries in the field of poetry and poetics, Marjorie Perloff (emerita Stanford) and Roland Greene (Stanford, President of MLA at the time). Most of the discussion concerned music, from rock n roll and samba to experimental composition. Videos of the event should be posted at MLAs site and the Stanford Arcade site. He also performed Isto aqui, o que e? at the 2016 Summer Olympics opening ceremony along with singers Anitta and Gilberto Gil after the parade of delegations in August 2016.[16]Personal lifeVeloso married fellow Baiana and actress Andrea Gadelha (or Dede) on November 21, 1967, in a ceremony that reflected the air of the counterculture era. Their son Moreno was born November 22, 1972. On December 13, 1983, their daughter Julia was born. She died a few days later. Velosos father died on December 13, 1983. Veloso separated from Dede Veloso in 1983. In 1986 Veloso married Rio native Paula Lavigne, with whom he had two more sons, Zeca Lavigne Veloso, born March 7, 1992, and Tom Lavigne Veloso, born January 25, 1997, in Salvador. This marriage lasted twenty years. Although separated since 2004, the two still work together. Velosos 1989 CD Estrangeiro includes songs (Esse Amor, which means This Love, and Branquinha) inspired by and dedicated to, respectively, his ex-wife Dede and his wife at the time, Paula Lavigne.[17][18][19][20]
Summary
Wikipedia Source: Caetano Veloso