When Adele’s 2015 hit “Million Years Ago” was accused of copying Martinho da Vila and Toninho Geraes’ 1996 Brazilian classic “Mulheres”, it sparked heated debates online. But for Brazilians, this wasn’t new – it was just another example of our music inspiring global hits without proper credit. Brazilian culture has shaped the global music scene for decades, yet it’s often overlooked or dismissed unless tied to controversy.
Similar cases include Rod Stewart's “Da Ya Think I'm Sexy?” (1978) versus Jorge Ben Jor's “Taj Mahal” (1972), Black Sabbath’s “Sabbath Bloody Sabbath” (1973) versus Vanusa’s “What to Do” (1968), and Carlos Lyra’s “Maria Moita” (1964) versus Deep Purple's iconic “Smoke on the Water” (1972). Gotye’s “Somebody That I Used to Know” (2011) versus Luiz Bonfá’s “Seville” (1967) further exemplifies this phenomenon.
The debate doesn’t stop at plagiarism. The growing use of Brazilian samples in anglophone hip-hop has added fuel to the fire. 2024 was considered the year of Brazilian samples in anglophone hip-hop culture: Elza Laranjeira’s “Serenata do Adeus” (1971) in 21 Savage’s “Red Rum” (2024), Cassiano’s “Catiçal” (1971) in J. Cole and Daylyt’s “A.P.O.C.G” (2024), Rosinha da Valença’s “Summertime” (1971) in Tyler, the Creator’s “Tomorrow” (2024), and Ivan Lins’ “Guarde nos Olhos” (1971) in Common and Pete Rock’s “Fortunate” (2024). A worthy mention goes to Xuxa’s “Ilariê” (1988) in Måneskin’s “Gossip” (2023).
Sampling and plagiarism can blur the lines, as can admiration and appropriation. Sampling involves the use of parts of a recording in a new song, while plagiarism is the act of representing another author's work as your own. Sampling can be considered plagiarism if done without permission, but it’s not always plagiarism if permission is granted.
As a Brazilian, it is incredibly frustrating to see my country’s rich cultural contributions consistently ignored or dismissed by mainstream international media. Brazil is so much more than the shallow stereotypes of favelas, carnival, football, and the Amazon rainforest. The true beauty of my nation lies in its diversity, history, and intricate cultural landscape—elements often overlooked by the wider world. Unfortunately, these aspects only attract attention when linked to controversy or scandal.
A clear example of this was the recent controversy surrounding Labour's promotional video on TikTok. Their choice was a Carioca funk with inappropriate lyrics and without acknowledgment of the layers involved within the genre. Funk originated in Brazil in the 1970s and evolved into Carioca Funk in the 1980s, a genre that persists today. Despite its growth, it remains stigmatised due to its roots in poverty, racism, and aporophobia in Brazil. Some have even called for its criminalisation, labelling it as noise pollution. As the lyrics became more provocative and sexualised, debates intensified, especially regarding the objectification of women in music videos and lyrics.
Once, I heard someone say, "This is like elevator music" (about Bossa Nova). There are so many layers of ignorance in that statement; it erases the entire significance of this Brazilian genre, which is the most exported and a portrait of Brazil’s relationship with the outside world. Bossa nova played a strong role in Rio de Janeiro’s cultural identity, much more than just mood or background music. It’s a form of othering a continental country with a melting pot of microcosms, reducing it to one-dimensional stereotypes and, in the process, intellectually impoverishing the understanding of Brazil.
This tendency reflects a disturbing pattern of cultural appreciation that only occurs when it aligns with narrow, preconceived notions. It is disheartening to witness how much of Brazil’s cultural identity is overshadowed by these stereotypes, which fail to capture the depth and vibrancy of my country’s traditions. It can lead to the dangerous phenomenon of cultural appropriation, where elements of Brazilian culture are adopted or commodified by others without true understanding or respect. In fact, many Brazilians themselves internalise this underappreciation, as described by the renowned Brazilian playwright Nelson Rodrigues. His concept of the “Mongrel Complex” refers to the sense of inferiority that many Brazilians feel, believing our culture is not as worthy or refined as those of other nations. In his words, Brazilians are “the backward Narcissus, who spit in their own image.”
It’s about time we reject the stereotypes and embrace the complexity and richness that Brazil offers the world—not just in the form of controversy, but in the enduring beauty of its art, music, and heritage. Let’s celebrate all that Brazil has to offer—on its own terms, and not as a mere footnote to someone else’s story. A tropical country beautiful by nature, but what beauty?!
Regarding the soap opera between Martinho da Vila and Adele, we see a $tark contrast: a British white woman versus a Black Brazilian artist. The privilege disparity is glaring—Adele, with her global platform, enjoys worldwide acclaim, while Martinho da Vila, despite his contributions being the foundation of many popular songs, remains largely overlooked. This is not just a matter of music; it's about racial privilege and power. The layers of privilege that separate these two figures are a reflection of how Brazilian culture, especially when linked to its Black roots, is often erased or diminished. Yet, despite these barriers, Brazil’s cultural richness endures, undeniable and irreplaceable. It’s time for the world to recognize Brazil on its own terms, not just as the backdrop to someone else’s success.
There are countless untold stories, and the erasure of Brazil’s significance is not just a minor oversight—it’s a form of “othering” a continental country with a melting pot of microcosms. Reducing Brazil to one-dimensional stereotypes intellectually impoverishes the understanding of a nation that holds so much more beneath the surface. It’s time to recognise Brazil for what it truly is—a complex, multifaceted culture that deserves to be seen in its full, rich diversity in all forms.
This piece is also available on Outside Left: https://outsideleft.com/main.php?updateID=3375
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