{"id":92782,"date":"2024-08-22T06:59:00","date_gmt":"2024-08-22T09:59:00","guid":{"rendered":"https:\/\/www.ufrgs.br\/jornal\/?p=92782"},"modified":"2024-08-21T18:54:10","modified_gmt":"2024-08-21T21:54:10","slug":"research-has-recovered-life-and-works-of-lupicinio-rodrigues","status":"publish","type":"post","link":"https:\/\/www.ufrgs.br\/jornal\/research-has-recovered-life-and-works-of-lupicinio-rodrigues\/","title":{"rendered":"Research has recovered life and works of Lupic\u00ednio Rodrigues"},"content":{"rendered":"\n

Music | Written as a musical-historical biography, doctoral thesis analyzes the trajectory and the production of the composer and interpreter that is one of the icons of samba-can\u00e7\u00e3o<\/em> music<\/strong><\/h4>\n\n\n\n

*By\u00a0Geovana Benites <\/a>
*November 17, 2022
*Photo: Clipping of the cover of Dor de cotovelo, one of the most popular albums of Lupic\u00ednio Rodrigues (Reproduction)<\/em><\/p>\n\n\n\n

Intending on writing a musical biography that anyone could understand, Arthur de Faria, musician and researcher, recovered the trajectory and work of Lupic\u00ednio Rodrigues (1914 – 1974), composer and interpreter from Porto Alegre, in his doctoral dissertation defended for the Graduate Program in Letras <\/em>(Languages and Literature) <\/em>from UFRGS. Supervised by professor Lu\u00eds Augusto Fisher, the dissertation musically analyzes the work of Lupi in a historical context and highlights Lupic\u00ednio\u2019s position as a black, peripheral and bohemian Brazilian resident of Porto Alegre.\u00a0<\/p>\n\n\n\n

Arthur explains that from the very beginning the dissertation was thought out as a biography of Lupi, focused on musical and historical aspects and pictured not only as an academic work, but also as a narrative in the form of a book, so that any reader would be able to understand and have access to it. This idea is reflected in the content of the book as well as in the language used by the author. “I asked Fisher if I could write using the language of ‘common people’ or if I had to write in the academic style, and he said that if not in Brazilian literature, where else would I be able to write the way I wanted? So, there are footnotes and all that but you won’t be seeing any ‘according to so-and-so’. It’s already written in book format,” explains Arthur.<\/p>\n\n\n\n

From <\/strong>dor de cotovelo <\/em><\/strong>to one-sided love<\/strong><\/h5>\n\n\n\n

Born in Porto Alegre and raised where once was the region of Ilhota, now a neighborhood that goes from Pra\u00e7a Garibaldi to Avenida Ipiranga, Lupic\u00ednio Rodrigues was a singer and composer known for being one of the great names of samba-can\u00e7\u00e3o<\/em>. He also created the expression dor de cotovelo <\/em>(literally \u201celbow pain\u201d, a Brazilian expression about the pain because of an unrequited love) and wrote Gr\u00eamio\u2019s<\/em> anthem. <\/p>\n\n\n\n

\n
\n
\"Eu gostei tanto
Tanto quando me contaram
Que a encontraram
Bebendo e chorando
Na mesa de um bar
E que quando os amigos do peito
Por mim perguntaram
Um solu\u00e7o cortou sua voz
N\u00e3o lhe deixou falar
Mas eu gostei tanto\"<\/pre>\n<\/div>\n\n\n\n
\n
I was so pleased\u00a0
So pleased when they told me
That they found her
Drinking and crying
At a bar table\u00a0
And that when the comrades
Asked about me
A sob cracked her voice
It didn't let her speak\u00a0
But I was so pleased<\/pre>\n<\/div>\n<\/div>\n\n\n\n
Excerpt from Vingan\u00e7a <\/em>[Revenge], a song written by Lupic\u00ednio Rodrigues in 1951<\/a><\/p>\n\n\n\n
<\/div>\n\n\n\n
<\/p>\n\n\n
\n
\"\"
Cover of the album Roteiro de um boh\u00eamio<\/em>, which contains very popular| tracks by Lupi, such as Vingan\u00e7a <\/em>[Revenge] \u00a0<\/em>and Felicidade <\/em>[Happiness] (Image: Reproduction).<\/figcaption><\/figure>\n<\/div>\n\n\n
<\/p>\n\n\n\n
The main themes of his songs were unrequited love, betrayal and revenge, but always with a hint of sofr\u00eancia <\/em>(neologism used to refer to heartache) \u2014 very characteristic of this genre \u2014 revealed through emotional lyrics that would often revolve around missing someone or missing an unrequited or lost love. \u201cIt\u2019s impossible not to talk about his loves, his affairs, his women, because these were central issues in his work. He invested a lot in it, he sang about things that had actually happened in his life,\u201d says Arthur.<\/p>\n\n\n\n
\n
\n
\"Voc\u00ea sabe o que \u00e9 ter um amor, meu senhor?
Ter loucura por uma mulher
E depois encontrar esse amor, meu senhor
Nos bra\u00e7os de um tipo qualquer?\"<\/pre>\n<\/div>\n\n\n\n
\n
Do you know what it is like to have a lover, sir?
To be crazy over a woman
And then find that lover, sir
In the arms of another<\/pre>\n<\/div>\n<\/div>\n\n\n\n
Excerpt from Nervos de A\u00e7o<\/em> [Nerves of Steel], song written by Lupic\u00ednio Rodrigues in 1939<\/a><\/p>\n\n\n\n
<\/p>\n\n\n\n
<\/div>\n\n\n\n
<\/p>\n\n\n\n
\n
\n
\"Felicidade foi-se embora
E a saudade no meu peito ainda mora
E \u00e9 por isso que eu gosto l\u00e1 de fora
Porque eu sei que a falsidade n\u00e3o vigora\"<\/pre>\n<\/div>\n\n\n\n
\n
Happiness is gone
And the longing in my heart still lives
And that is why I like it out there
Because I know that falsity does not prevail]<\/pre>\n<\/div>\n<\/div>\n\n\n\n
Excerpt from Felicidade <\/em>[Happiness], written by Lupic\u00ednio Rodrigues in 1932<\/a><\/p>\n\n\n\n
<\/div>\n\n\n\n
Besides talking about the life and work of Lupic\u00ednio, the doctoral dissertation also looks into the historical context experienced by him, alternating between Lupi\u2019s stages of life and the scenario at that time. Regarding Porto Alegre, the researcher covers the music of the city’s formative years and golden years. He also tells the history of Ilhota, the old neighborhood between Menino Deus, Azenha and Cidade Baixa, known for flooding frequently and for being the musician\u2019s birthplace.<\/p>\n\n\n
\n
\"\"
Lupi had a connection with UFRGS too: he worked as a school inspector in Law School. The photo, published in Revista do Globo<\/em> on July 27, 1952, shows the composer at the college entrance (Reproduction).<\/figcaption><\/figure>\n<\/div>\n\n\n
According to Arthur, the Brazilian context and the period when Get\u00falio Vargas was in power were also important in the composer\u2019s trajectory and that is why they were also included in the research. \u201cI talk about the rise of Get\u00falio and how, especially during the Estado Novo<\/em>, he carried out a unification process of Brazil that highly used popular music and how these policies influenced the consecration of Lupic\u00ednio. I also talk about the changes in the music industry in the 60s, because everything that happened to Brazilian society and music at that time caused Lupi\u2019s generation to be forgotten, and he, as he died early, never got to see the appreciation that his generation had for him,\u201d he says.<\/p>\n\n\n\n
A multitalented person<\/strong><\/p>\n\n\n\n
Musician and journalist, Arthur de Faria started the research around Lupic\u00ednio\u2019s life long before pursuing his master\u2019s and doctoral degrees, out of curiosity regarding the artist. Consequently, he collected testimonies from classmates of the same generation as Lupi throughout the years. They talked not only about the composer, but also about some characteristics of the society at the time, especially issues concerning race, social rank, and gender. \u201cOne thing that surprised me is that the black men in this context, from the bohemian nights of Porto Alegre, none of them talk about racism. They said things like \u2018no, there wasn\u2019t prejudice between us, everyone was equal\u2019. At the same time, black women had their lives stained by racism, and it wasn\u2019t a little less difficult to be a black woman than a black man in this context, it was way more difficult.\u201d<\/p>\n\n\n\n
\n
\u201cLupic\u00ednio was very much a portrait of a man of his time and, at the same time, very complex. It is easy to set him as an outsider of his own world, but you can also set him as a symbolic figure of the tackiness of his period. He is not an individual that can be easily reduced to a stereotype\u201d.<\/p>\nArthur de Faria<\/em><\/cite><\/blockquote>\n\n\n
\n
\"\"
Lupic\u00ednio and his second wife, Cerenita Rodrigues (Photo: S\u00edlvio Ferreira\/Marcello Campos Archive)<\/figcaption><\/figure>\n<\/div>\n\n\n
<\/p>\n\n\n\n
Although Lupi\u2019s popularity peaked in the 50\u2019s, even after his death, in 1974, his work was recorded over and over again, not only by fellow members of his generation, but also by interpreters such as Arrigo Barnab\u00e9, F\u00e1bio Jr., Elza Soares, Maria Beth\u00e2nia, Adriana Calcanhotto e Arnaldo Antunes.<\/p>\n\n\n\n
For Arthur, being able to translate Lupi\u2019s talent into a simpler language, so that the general audience \u2014 not only musicians \u2014 could understand, was his biggest challenge, but also a great achievement. \u201cOne thing that no one mentions about Lupic\u00ednio is the strictly musical geniality of a person who didn\u2019t play any instrument. Perhaps because of that and maybe despite that, he created incredible melodies and unique song structures. They weren\u2019t stanza-chorus-stanza-chorus structures, which is very unusual and original, without being avant-garde\u201d, the researcher finishes. <\/p>\n\n\n\n
\n\n\n\n
Translated into English by Bianca Costa Lopes<\/strong>, undergraduate student enrolled in the course \u201cSupervised Translation Training II (English)\u201d of the Undergraduate Program in Language and Literature, under the supervision and translation revision of Professor Elizamari R. Becker (P.h.D.) \u2013 IL\/UFRGS.<\/p>\n\n\n\n
\n\n\n\n
:: Read in portuguese<\/strong>
Pesquisa resgata a vida e a obra de Lupic\u00ednio Rodrigues<\/a><\/p>\n\n\n\n
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