Later, he interpolated "(I Can't Get No)
Satisfaction," changing the chorus to "I
can't get no connection, probably
because he cares more about one than
the other. He offered capsule histories of
Brazilian music in both English and
Portuguese-ever the diplomat-though
Speakers of the latter laughed louder,
which made me feel like I was missing
something. Attendees of all tongues were
aided in the seemingly impossible task of
clapping on rhythm without speeding up.
FREE
July 10-13
All the good cheer distracted me, at least for a while, from thinking about just how weird
Gil is. Half-bald and dreadlocked, he looks little like the Predator; he jiggled around
onstage in the sexless, ungainly way someone might while alone in his or her own living
room; he punctuated half his verses with vocal exclamations more common to seals,
porpoises, and small children on playground swings. Admittedly, I groaned when he turned
Bob Marley's "Three Little Birds" into a samba and followed it with "The Girl From Ipanema"
as reggae. He likely thought he was giving the people what they wanted. He was right-but
he was also regressing toward the mean. So when he followed with the words "Now, also in
a reggae beat, a Beatles song" and crept into "Something," I closed my eyes slowly in
shame. But it was actually pretty good. That scenario-a black Brazilian singing the Beatles
in a Jamaican style-is the kind of chancy catchall Gil has built a career on. And while his
efforts have strayed toward the more facile side of multicultural unity in the past few years,
his commitment to the ideal stays firm. Halfway through, he even let loose a seal yelp to
prove it.
More by Mike Powell
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At Nokia Theater, Gil's reception is still as clear as ever
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David Berman grows up (a little) and mellows out (sort of)
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Paul Simon: Diamonds on the Soles of His Shoes
Grizzly Bear, David Byrne, and host of others join the April BAM residency of New York's
quintessential songwriter
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from Saturday Night Live.
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