Borrowed Beats, Stolen Melodies: The Silenced Influence of Brazilian Music

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 fine line between plagiarism and sample

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.

Virality prioritized over understanding.

As a Brazilian, it is incredibly frustrating to see my country’s rich cultural contributions consistently ignored, reduced 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 controversy surrounding Labour's AI-made campaign on TikTok in January 2025. Their choice was a Carioca funk with inappropriate lyrics and without acknowledgment of the layers involved within the genre, a minimal research.

Once, someone told me, "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.

When Appreciation Becomes Appropriation, Culture Loses Sight

This tendency reflects a disturbing pattern of cultural appreciation that only occurs when it aligns with their 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,

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 without the gringo's approval. 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?!

Brazil’s Blackground: Where Privilege Meets Erasure

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.

This is a common cultural phenomenon to erase black contributions: police persecution, prejudice, whitewashing, cultural appropriation, and the exploitation of Black artists in the music industry. Many of well-known songs were originally performed by Black artists or composed by Black anonymous songwriters. The fact they are not considered covers is problematic. Even if not in the traditional sense, these songs were often adapted to appeal, or at least make it palatable to a white audience. However, it's worth noting that many record labels retained the copyright of Black people songs, no royalties for their work, recorded by a white someone else and released the same song several years later making profits.

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