Today marks the first year without Gal Costa, the muse who revolutionized Brazilian music and paved the way for a generation of Brazilian female artists. She cannot be reduced to one single musical genre, her influence transcended boundaries. Recently, Brazilian cinemas were abuzz with her biopic on the big screen, 'Meu Nome É Gal' (Dandara Fonseca and Lô Politi, 2023). While it found public success, critics heavily scrutinized it for reducing her 77 years to a mere cutout of her early career. The biopic, they argued, lacked her full protagonism and omitted crucial musical scenes that shaped her persona.
Gal Costa as an embryo had a strong musical influence with classic music through her mother. She grew up surrounded by music, taking acoustic guitar lessons from a neighbour, and teaching herself to sing. Her connection to the music world deepened as she worked in a record shop and became part of a close-knit group of future icons in Brazilian music.
For five decades in a row, Gal Costa has captivated generations of fans on Brazilian soil with her remarkable voice, sensitive interpretations, and distinctive personality. It all began with her participation in 'Nós, por exemplo,' the opening concert in 1964 that marked the inauguration of the Vila Velha Theatre in Salvador. This event served as a prototype for the Tropicália movement, and Gal Costa enchanted local music critics, making a name for herself. Her national debut followed in the subsequent year, coinciding with another Brazilian musical musical monsteresette, Maria Bethânia, who released her first long-play record, 'Maria Bethânia' (1965), featuring 'Sol Negro.' In the same year, Gal released a compact disc influenced by bossa nova under her birthname, Maria da Graça. This album included tracks such as 'Eu Vim da Bahia,' composed by Gilberto Gil, and 'Sim, foi Você!,' written by Caetano Veloso. Since then, Gal Costa has been a transformative force in Brazilian music.
Gal Costa was widely regarded as the muse of Tropicália, a cultural and artistic movement that emerged in Brazil in the late 1960s as a response to the military dictatorship. Tropicália was not limited to music; it also encompassed visual arts, literature, and theatre. This movement was characterized by a fusion of various musical genres, including Brazilian folk music, rock, pop, and avant-garde elements. It was known for its innovative and provocative approach to music and the arts and was seen as both a celebration of Brazil's rich cultural diversity and a reaction against the authoritarian government of the time. Tropicália played a significant role in shaping Brazilian popular culture and music. Gal Costa's involvement in Tropicália was notable, including her participation in 'Panis et Circensis' (1968) and the fourth edition of the Festival de Música Popular Brasileira (1968) with the iconic 'Divino and Maravilhoso.' These events played a pivotal role as resistance movements against the regime, and she served as a spokesperson for her exiled friends and contemporaries, such as Gilberto Gil and Caetano Veloso, who were in London. She performed songs penned by them, which they composed while they were away.
Gal Costa wore many musical hats throughout her career. In 1971, her songs 'Jards Macalé' and 'Willy Salomão' explored the extension of her high-pitched vocals with flawless timbres, sometimes even replacing traditional musical instruments. She became a familiar presence in Brazilian households, contributing to the opening songs of several Brazilian telenovelas. Some notable examples include 'Modinha para Gabriela' (composed by Dorival Cayimi) for the eponymous 1975 production and 'Brasil' (composed by Cazuza) for Vale Tudo (1988-1989), and many other earworm hits turning into a pop diva.
Gal Costa was also a strong member of the Brazilian hippie movement and counterculture, drawing inspiration from the likes of Janis Joplin. She formed a musical group with her hometown friends called 'Doces Bárbaros' in 1976. The name 'Doces Bárbaros,' a reference to the barbarians, originally referred to people considered uncivilized or primitive in Ancient Greece. In the Brazilian context, it served as a critique of societal prejudice, as the four members of the group were northeastern migrants; which included her, along with Gilberto Gil, Caetano Veloso, and Maria Bethânia. This region, known for its extreme dryness and poverty, rich crib in cultural traditions, that are undervalued.
Gal Costa maintained her musical roots by offering her own interpretations of bossa nova classics by Vinícius de Moraes and Tom Jobim. She expanded her fan base by delving into forró music alongside prominent figures like Luiz Gonzaga, a key name in the genre. She also performed frevo music with 'Festa do Interior' and had interpretations of Brazilian classics spanning Carnaval samba, rock, soul, disco, Afro-Brazilian funk, and crystalline acoustic ballads. Beyond these traditional Brazilian music genres, she made significant contributions to the new wave of Brazilian music with contemporary artists.
Throughout her seventy-seven-year career, Gal Costa's extensive body of work includes 1080 songs and over 200 albums, as documented by ECAD (Escritório Central de Arrecadação e Distribuição), the national copyright collection agency in Brazil. Remarkably, 85% of her rights income comes from radio and TV segments. Her influence is reflected in the most-played songs of the last decade, including 'Um Dia de Domingo,' 'Chuva de Prata,' 'Quando Você Olha Para Ela,' 'Sorte,' 'Meu Bem Meu Mal,' 'Azul,' 'Baby,' 'Dom de Iludir,' 'Açaí,' 'Folhetim,' 'Nada Mais,' 'Hino do Sr. Do Bonfim,' 'Força Estranha,' 'Alguém Me Disse,' 'Barato Total,' 'Modinha de Gabriela,' 'Lanterna dos Afogados,' 'Mar e Sol,' 'Aquarela do Brasil,' 'Sonho Meu,' and 'Luz do Sol.'
Gal Costa's remarkable career has earned her numerous awards and recognition. In Brazil, she was honoured as the 'Best Pop/Rock/Reggae/Hip-Hop/Funk Singer' at the Brazilian Music Awards in 2016. She received accolades at the Multishow Awards, winning in the 'Best Show (Superjury)' category in 2012 and a 'Special Award' in 2015 for her 50 years of career. The Contigo Awards! MPB FM recognized her in 2012 for the 'Best MPB Album' category and in 2013 as the 'Best Singer' according to the official jury. In 1999, she was celebrated as the 'Best Singer' of the Year.
Gal Costa's achievements also extend to the Trófeu Imprensa awards, where she received the 'Best Singer' title in 1970, 1983, 1985, and 1986, and she was acknowledged as the 'Best Female Revelation' in 1969. Her songs 'Chuva de Prata' and 'Um Dia de Domingo (with Tim Maia)' earned her the title of 'Best Music' in 1985 and 1986, respectively. Beyond Brazil, she clinched a Latin Grammy Award in 2011.
Her most recent album, 'Nenhuma Dor' ('No Pain'), released in 2021, features a collection of duets recorded during the pandemic. Collaborating with artists such as Seu Jorge, Rodrigo Amarante, and Jorge Drexler, the album revisits her classic songs, offering a fresh perspective on her enduring legacy.
In 1985, Gal Costa made her United States debut with a pair of concerts at Carnegie Hall, although she had none plans for an international career.
Gal Costa also ventured onto the big screen, notably portraying none other than Carmen Miranda in the 1995 film 'O Mandarim,' and making cameo appearances in Brazilian telenovelas
Gal Costa boldly challenged Brazilian conservatism with her sensuality, emerging as an early feminist icon and sex-symbol. While her expressions may not seem explicit by today's standards, in her time, she became a part of the women's empowerment through her freedom of self-expression, particularly evident in the cover art of albums like 'Índia' (1973) and 'Fat-tal.'(1971) These artworks, however, faced censorship during the military regime.
The 'Índia' cover, featuring a woman's torso in a striking red thong-like bikini, was sold inside an opaque blue plastic cover by her record company. It was only after the return of democracy in 1985, coinciding with her 40th birthday, that she posed nude for a magazine. Again, revolutionising the ageism on women too. In 1994, she created an iconic cover for the song 'Brazil,' braless and accompanied by the famous chorus 'mostra a sua cara,' which translates to 'show your face.' This act, at the time considered an incident, also served as a form of protest.
Notably, Gal Costa's resilience and spirit seem to be inherited from her mother, a single parent who motivated her musical career. Her mother's story includes a 'desquite,' a separation arrangement that predates the 1977 divorce law. Under 'desquite,' the couple formally separated, shared assets, and were prohibited from marrying again, reflecting the social stigma surrounding this arrangement at the time.
Gal Costa's revolutionary journey extended further as she became an icon of intersectionality with her bisexuality. During a tour with "Doces Bárbaros," she openly exchanged a kiss with another woman on stage, although her relationships remained private. Nevertheless, she never concealed her bisexuality from the public. This is particularly significant, as the "B" in LGBT+ often occupies a grey area, frequently forgotten within the community and subject to biphobia.
In 2007, Gal Costa took another groundbreaking step by adopting a child, thereby challenging and revolutionizing the conservative Brazilian society. She entered into a same-sex marriage and formed a family, adding another layer to her trailblazing legacy, prior to the legalization of same-sex marriage in 2013. Gal Costa's legacy extends far beyond the realm of music. She played a pivotal role in paving the way and shaping the identity for marginalized members of the nation who had long been in the shadows of traditional society as a bisexual northeastern Brazilian Latina woman. In an interview, she once eloquently expressed her philosophy, stating:
"People have to respect differences. The other doesn't have to be like you. You have to have the freedom to be, to exist, whatever you may be. That's implicit in me, in my way of being."
Much like the profound messages found in her song lyrics, Gal Costa's name itself has become synonymous with courage, freedom, and the celebration of diversity. Her life's work stands as a testament to the power of art and personal conviction in driving social change and promoting acceptance. Like her song lyrics, her name is Gal.
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