0:00:04 > 0:00:06SONG: The Girl From Ipanema
0:00:11 > 0:00:14# Tall and tan and young and lovely
0:00:14 > 0:00:18# The girl from Ipanema goes walking and
0:00:18 > 0:00:22# When she passes each one she passes goes
0:00:22 > 0:00:24# "Ah..."
0:00:25 > 0:00:28# When she walks, she's like a samba
0:00:28 > 0:00:32# That swings so cool and sways so gently that
0:00:32 > 0:00:36# When she passes, each one she passes goes
0:00:36 > 0:00:39# "Ah..." #
0:00:39 > 0:00:44The Girl From Ipanema. Nothing says Rio de Janeiro quite like it.
0:00:44 > 0:00:47Musical legends from Frank Sinatra to Amy Winehouse
0:00:47 > 0:00:50cut their own versions of the most famous piece of bossa nova
0:00:50 > 0:00:54ever written. And when it was first a hit back in 1964,
0:00:54 > 0:00:58those three sublime minutes crystallised a vision of Brazil
0:00:58 > 0:01:02in the eyes of the rest of the world that endures to this day.
0:01:03 > 0:01:06# But each day when she walks to the sea
0:01:06 > 0:01:10# She looks straight ahead not at he... #
0:01:14 > 0:01:18So I've come here to Rio to explore the culture and the people
0:01:18 > 0:01:21behind the hit song.
0:01:21 > 0:01:23It's a journey into a most extraordinary period
0:01:23 > 0:01:26in Brazil's history when utopian Modernism,
0:01:26 > 0:01:31African rhythms and romantic poetry were channelled by a generation
0:01:31 > 0:01:34of Rio natives - Cariocas - to create bossa nova,
0:01:34 > 0:01:38Brazil's first and last truly international art form.
0:01:41 > 0:01:44# Tall and tan and young and lovely
0:01:44 > 0:01:48# The girl from Ipanema goes walking and
0:01:48 > 0:01:52# When she passes each one she passes goes
0:01:52 > 0:01:55# "Ah..."
0:01:55 > 0:01:57Bossa nova is the most beautiful music ever
0:01:57 > 0:02:00because it's sophisticated and also very simple.
0:02:00 > 0:02:05We were fighting for a cause, we had the sensation, we were fighting for,
0:02:05 > 0:02:08our cause was to divulge,
0:02:08 > 0:02:13to promote this wonderful music that will save Brazil.
0:02:15 > 0:02:18Bossa's a music defined by its sophistication, but sadly,
0:02:18 > 0:02:21now more often heard in a lift than on the radio.
0:02:21 > 0:02:23But I've always loved bossa.
0:02:23 > 0:02:26My father was born here in Rio so I grew up listening to it,
0:02:26 > 0:02:29and I've travelled here to Brazil many times to see and hear it
0:02:29 > 0:02:34for myself. There is so much more to it than its Muzak stereotype,
0:02:34 > 0:02:37and it means so much to Brazilians of all ages.
0:02:37 > 0:02:41So join me as I retrace the steps of the girl from Ipanema
0:02:41 > 0:02:43to a golden age of Brazilian music
0:02:43 > 0:02:47and the sun, sea and samba that started it all.
0:02:47 > 0:02:50# And when she passes she smiles
0:02:50 > 0:02:53# But she doesn't see
0:02:53 > 0:02:56# She just doesn't see... #
0:02:59 > 0:03:03Any story about Brazilian music has to start with samba.
0:03:03 > 0:03:06In fact, here in Brazil, they say that music is samba
0:03:06 > 0:03:07and samba is God.
0:03:07 > 0:03:11It's the music that tells the story of the Brazilian people,
0:03:11 > 0:03:13and it also provides the pulsing soundtrack
0:03:13 > 0:03:16to Rio's famous carnival parades.
0:03:16 > 0:03:18UPBEAT MUSIC
0:03:23 > 0:03:26Samba is where the soul of Brazil is.
0:03:26 > 0:03:30It's the way Brazil breathes, it's the way Brazil walks,
0:03:30 > 0:03:31it's the heartbeat of Brazil.
0:03:34 > 0:03:36Samba is as old as Brazil itself.
0:03:36 > 0:03:40Based on rhythms brought to the continent by West African slaves
0:03:40 > 0:03:43in the 16th century, it took hold as a truly Brazilian rhythm
0:03:43 > 0:03:48in the 1930s under the nationalist dictator Getulio Vargas.
0:03:48 > 0:03:51He used the carnival parades to promote his policy
0:03:51 > 0:03:53of racial democracy,
0:03:53 > 0:03:56unifying the diverse population through song and dance.
0:03:56 > 0:03:59And carnival still has that effect today.
0:03:59 > 0:04:02So samba means carnival, it means party.
0:04:02 > 0:04:05Tell us how people behave when they hear a samba.
0:04:13 > 0:04:17Bossa nova feels very calm compared to samba but is there some link?
0:04:30 > 0:04:33You can see why the Brazilians love samba. I mean, what's not to like?
0:04:33 > 0:04:35But all this, the drums and the noise and the singing
0:04:35 > 0:04:39and all the general madness is a million miles away from the soft,
0:04:39 > 0:04:41sophisticated tones of bossa nova.
0:04:41 > 0:04:43They may have come from the same place,
0:04:43 > 0:04:48but bossa nova was a child of its time, and that time was the 1950s.
0:04:53 > 0:04:57- REPORTER:- 'Yes, it's the most famous beach in the world,
0:04:57 > 0:04:59'Copacabana beach in Rio de Janeiro,
0:04:59 > 0:05:02'the city where the tango and the samba and the prettiest girls
0:05:02 > 0:05:04'in the world come from.'
0:05:06 > 0:05:10Bossa nova captured the mood of a special moment in Brazil's history.
0:05:10 > 0:05:13The demise of President Vargas in 1954
0:05:13 > 0:05:16called an end to 25 years of strict state control
0:05:16 > 0:05:19and gave way to a democratic, outward-looking Brazil
0:05:19 > 0:05:23with its sights set on becoming a modern First World nation.
0:05:24 > 0:05:26It was beautiful.
0:05:26 > 0:05:30It was an emerging time for arts,
0:05:30 > 0:05:34for film, for many things.
0:05:34 > 0:05:37It was like a promise
0:05:37 > 0:05:40of a new country, new life.
0:05:43 > 0:05:46- NEWSREADER:- Brazil's president elect, Juscelino Kubitschek,
0:05:46 > 0:05:49declares putting Brazil on the map will be the biggest operation
0:05:49 > 0:05:51of his career.
0:05:51 > 0:05:54We had this great president in this Kubitschek.
0:05:54 > 0:05:57JK was his nickname.
0:05:57 > 0:06:00We used to call the President bossa nova.
0:06:00 > 0:06:04Yeah, because he was always smiling.
0:06:04 > 0:06:06He loves music.
0:06:06 > 0:06:08People loved him, he was a democrat.
0:06:08 > 0:06:12He started to build cars
0:06:12 > 0:06:14and industries.
0:06:14 > 0:06:15He was a visionary.
0:06:15 > 0:06:19"We will build a new capital in four years."
0:06:19 > 0:06:21And they did it.
0:06:24 > 0:06:28After centuries of colonial rule and hard-line dictatorships,
0:06:28 > 0:06:31Kubitschek's promise of 50 years' development in five,
0:06:31 > 0:06:35epitomised by the audacity of the brand-new capital, Brasilia,
0:06:35 > 0:06:38inspired hope for a new start for Brazil.
0:06:42 > 0:06:44And, as if life couldn't get any better,
0:06:44 > 0:06:47the national football team were on top of the world.
0:06:48 > 0:06:541958, miraculously, Brazil won the World Cup in Sweden.
0:06:56 > 0:07:00And with a generation with Pele, Garrincha,
0:07:00 > 0:07:03the greatest football players,
0:07:03 > 0:07:06they marvelled the world with it.
0:07:06 > 0:07:09They were not only playing football,
0:07:09 > 0:07:14they were artists, they were dancers, they were magicians.
0:07:15 > 0:07:20And that, in Brazil, had a strong effect on the Brazilian soul.
0:07:20 > 0:07:23"We're the best."
0:07:23 > 0:07:28And the bossa nova comes as the perfect soundtrack of this period
0:07:28 > 0:07:32of Brazilian life - we were happy.
0:07:39 > 0:07:42The soundtrack to this golden era would be written by a generation
0:07:42 > 0:07:46of middle-class kids coming of age in the beachfront apartment blocks
0:07:46 > 0:07:48of Copacabana and Ipanema.
0:07:48 > 0:07:51Guitar-mad Carlos Lyra and Roberto Menescal,
0:07:51 > 0:07:54jobbing night-time pianist Tom Jobim,
0:07:54 > 0:07:56keen young singer Nara Leao
0:07:56 > 0:07:59and awkward troubadour Joao Gilberto
0:07:59 > 0:08:03enjoyed a charmed lifestyle and bonded over their desire
0:08:03 > 0:08:06for a modern Brazilian sound to call their own.
0:09:05 > 0:09:07SINGING IN OWN LANGUAGE
0:09:13 > 0:09:16The music was that kind of thing,
0:09:16 > 0:09:21"Waiter, bring me another glass because that woman just...
0:09:21 > 0:09:26"found herself a lover and I'm here suffering with this sentimental..."
0:09:26 > 0:09:31All the lyrics were about adultery, you know.
0:09:31 > 0:09:33It was horrible.
0:09:37 > 0:09:39APPLAUSE
0:09:39 > 0:09:43Running a mile from their parents' sorrowful samba-canao,
0:09:43 > 0:09:47Rio's hip teens fell in love with American cool jazz.
0:09:47 > 0:09:50The West Coast jazz, I loved it.
0:09:50 > 0:09:53Stan Kenton, Gerry Mulligan, Shorty Rogers,
0:09:53 > 0:09:55Barney Kessel.
0:09:55 > 0:09:58Me and Roberto Menescal used to listen to Barney Kessel
0:09:58 > 0:10:00day and night. We were very impressed by that.
0:10:24 > 0:10:28The group would meet in the family home of young singer Nara Leao
0:10:28 > 0:10:30This intimate environment set the tone
0:10:30 > 0:10:32for the style of music they played.
0:10:32 > 0:10:34SINGING IN OWN LANGUAGE
0:11:22 > 0:11:24Everybody barefoot,
0:11:24 > 0:11:26drinking whiskey
0:11:26 > 0:11:29and smoking a lot.
0:11:29 > 0:11:33And everybody... The guitar will circulate
0:11:33 > 0:11:36and everyone will show his new songs.
0:11:36 > 0:11:41I would be here, you would be there, Menescal there...
0:11:41 > 0:11:43and a piano here, guitar...
0:11:43 > 0:11:47and then I had to play to you my new song.
0:11:47 > 0:11:50It was difficult because I have to impress.
0:11:50 > 0:11:53To go inside that group, you have to be good,
0:11:53 > 0:11:56or they would think that you weren't good.
0:11:56 > 0:11:59But once you were there, everybody would help each other.
0:12:00 > 0:12:03It soon became an ambitious songwriters circle,
0:12:03 > 0:12:08and in 1958 came the first song to be dubbed bossa nova, the new beat.
0:12:08 > 0:12:10It would also unite on record the future team behind
0:12:10 > 0:12:12The Girl From Ipanema.
0:12:12 > 0:12:14SINGING IN OWN LANGUAGE
0:12:26 > 0:12:30The only place to come in Rio to get more info on this seminal song
0:12:30 > 0:12:35is the record shop-cum-library cum-bossa nova shrine
0:12:35 > 0:12:37run by Carlos Alberto Afonso.
0:12:42 > 0:12:45The first document of music, of course,
0:12:45 > 0:12:49phonographic documents of bossa nova history,
0:12:49 > 0:12:54one recording from July 10, '58.
0:12:54 > 0:12:58The first moment with the bossa nova seed is one recording
0:12:58 > 0:13:02with Joao Gilberto, the god, number one,
0:13:02 > 0:13:07playing and singing and the orchestra
0:13:07 > 0:13:11of the second god of bossa nova,
0:13:11 > 0:13:14Antonio Carlos Jobim or Tom Jobim.
0:13:33 > 0:13:35SINGING IN OWN LANGUAGE
0:13:43 > 0:13:46When I heard this song, it was something...
0:13:46 > 0:13:50Something happened in my heart and I said, "What is that?"
0:13:50 > 0:13:53Because it was so unusual, the way he sings,
0:13:53 > 0:13:57the way the beat and the music, everything, you know?
0:13:57 > 0:14:02I can remember exactly when I heard Joao Gilberto.
0:14:02 > 0:14:04I was in a party
0:14:04 > 0:14:08and I was dating a very beautiful girl.
0:14:08 > 0:14:11I remember I said, "My God, what is that?"
0:14:11 > 0:14:15Even if I had influence of many other kinds of music,
0:14:15 > 0:14:17when bossa nova, I heard this,
0:14:17 > 0:14:20I said, "My God!" I was under the impact.
0:14:25 > 0:14:27Something of an outsider,
0:14:27 > 0:14:30Joao Gilberto was from the northern state of Bahia
0:14:30 > 0:14:34and was steeped in that region's African samba rhythms.
0:14:38 > 0:14:42This deep knowledge was always welcome at the jam sessions in Rio,
0:14:42 > 0:14:44even if Joao himself was a bit of a loner.
0:14:45 > 0:14:48But what really marked out the man who would first perform
0:14:48 > 0:14:52The Girl From Ipanema was his new twist on the samba rhythm,
0:14:52 > 0:14:55which became known as the bossa beat.
0:14:55 > 0:14:58He listened to the samba, played by the samba schools,
0:14:58 > 0:15:01500 percussionists walking in procession
0:15:01 > 0:15:03and playing that groove...
0:15:03 > 0:15:06SHE MIMICS DRUMBEAT
0:15:06 > 0:15:08Really kind of explosive sounds.
0:15:08 > 0:15:10Irresistible sound.
0:15:14 > 0:15:17He just heard that and just took
0:15:17 > 0:15:20the essential element of it
0:15:20 > 0:15:23and created this groove that he could play
0:15:23 > 0:15:26with his right hand on the guitar.
0:15:26 > 0:15:30And that's, you know, that was genius.
0:15:30 > 0:15:33Joao Gilberto used to play like that.
0:15:33 > 0:15:36And used to play with the five fingers
0:15:36 > 0:15:39in a strange way, this way.
0:15:39 > 0:15:41And he could swing with that way.
0:15:41 > 0:15:43I was amazed with the way he could play.
0:15:43 > 0:15:48So did you and Roberto Menescal then try and sort of imitate that way?
0:15:48 > 0:15:51We all tried to copy that
0:15:51 > 0:15:54cos that was the way of playing bossa nova.
0:15:54 > 0:15:56SINGING IN OWN LANGUAGE
0:16:07 > 0:16:10Gilberto's playing style was a revelation.
0:16:10 > 0:16:14But he also brought an attention to detail bordering on the obsessive.
0:16:16 > 0:16:21For him, it has to be that perfection, like Flaubert.
0:16:21 > 0:16:25He would roll on the floor in search of the right word.
0:16:25 > 0:16:27The same thing with Joao Gilberto,
0:16:27 > 0:16:31and the same thing for anybody who considers himself bossa nova.
0:16:31 > 0:16:34He has to have the right thing,
0:16:34 > 0:16:39the right touch because otherwise you don't have art.
0:16:39 > 0:16:41SINGING IN OWN LANGUAGE
0:16:44 > 0:16:46Samba is the rhythm,
0:16:46 > 0:16:49bossa nova is the way to play this song -
0:16:49 > 0:16:52sweet, kind.
0:16:52 > 0:16:54Intimate of voice,
0:16:54 > 0:16:58minimalistic behaviour of the instruments.
0:16:58 > 0:17:02I call the bossa nova with one name -
0:17:02 > 0:17:04Mona Lisa bossa nova. Yeah!
0:17:04 > 0:17:09Same artistic perspective of Renaissance art.
0:17:09 > 0:17:12Looking for the formal perfection
0:17:12 > 0:17:15through the simple.
0:17:15 > 0:17:18Just the necessary, no more.
0:17:19 > 0:17:21SINGING IN OWN LANGUAGE
0:17:30 > 0:17:32Bossa nova is very romantic.
0:17:32 > 0:17:34Very romantic, always.
0:17:34 > 0:17:40But the romance was always very light, very cool, never aggressive.
0:17:40 > 0:17:43Like singing in the ears of a woman.
0:17:44 > 0:17:45Never screaming.
0:17:45 > 0:17:47SHE SINGS IN OWN LANGUAGE
0:18:07 > 0:18:12The song was like meditation, you know, you get inside, you know,
0:18:12 > 0:18:16it's not so extrovert, it's coming in, it's introverted,
0:18:16 > 0:18:18it's like with yourself.
0:18:18 > 0:18:20SHE SINGS IN OWN LANGUAGE
0:18:34 > 0:18:38The art of bossa nova relied as much upon its sophisticated harmonies
0:18:38 > 0:18:42and catchy melodies as it did the intimate performance style.
0:18:42 > 0:18:45And the master composer and linchpin of the early scene
0:18:45 > 0:18:47was Antonio Carlos or "Tom" Jobim.
0:19:00 > 0:19:04I'm travelling three hours north of Rio into the mountains to visit
0:19:04 > 0:19:07the Jobim family's rustic country retreat.
0:19:07 > 0:19:08It's out here in the wilderness
0:19:08 > 0:19:11that Jobim wrote some of his best-known songs.
0:19:25 > 0:19:28So this is it, your grandfather's favourite place.
0:19:28 > 0:19:30Favourite place in the world.
0:19:30 > 0:19:32So how often would he come up here?
0:19:32 > 0:19:37Oh, he would stay months at a time, writing songs every morning.
0:19:37 > 0:19:40What did he love about this place, why did he always want to come up?
0:19:40 > 0:19:45All the birds, he knew all the birds by the scientific name, you know.
0:19:45 > 0:19:47And the melodies, which ones were doing,
0:19:47 > 0:19:49and writing the songs together.
0:19:49 > 0:19:54And from here he would use the whistle of the hunters,
0:19:54 > 0:19:58to call the female or the male from the outside of the river.
0:19:58 > 0:20:02- So this is amazing. - Yeah. Palm trees.
0:20:02 > 0:20:05- Very nice.- The monkeys jump from tree to tree.
0:20:06 > 0:20:10My music comes from this...
0:20:10 > 0:20:13environment here, you know,
0:20:13 > 0:20:16the rain, the sun, the trees,
0:20:16 > 0:20:19the birds, the mountains, the rocks.
0:20:19 > 0:20:22Beautiful.
0:20:22 > 0:20:24He loved life.
0:20:24 > 0:20:27And those guys, they were all like that, they were bohemian,
0:20:27 > 0:20:31they enjoyed life, they enjoyed beauty, they were into beauty.
0:20:34 > 0:20:38So this is the studio... where it all happened.
0:20:38 > 0:20:43Yes, his piano, upright piano, would be here with a bust of Chopin
0:20:43 > 0:20:46and some pictures of family there.
0:20:46 > 0:20:49And he would study here in the morning,
0:20:49 > 0:20:51looking at the forest there...
0:20:51 > 0:20:55and write all the songs.
0:20:56 > 0:20:59He played at night,
0:20:59 > 0:21:02like a pianist in bars.
0:21:02 > 0:21:05And that was, for a while,
0:21:05 > 0:21:10was not easy...not an easy living.
0:21:10 > 0:21:13He wanted to be a classical pianist.
0:21:14 > 0:21:17So he studied Rachmaninoff -
0:21:17 > 0:21:20he loved Stravinsky,
0:21:20 > 0:21:22Chopin a lot -
0:21:22 > 0:21:26and began writing arrangements.
0:21:39 > 0:21:42SINGING IN OWN LANGUAGE
0:22:10 > 0:22:13Jobim, he innovated in
0:22:13 > 0:22:15harmonic language what is possible.
0:22:15 > 0:22:17He was a poet of harmony,
0:22:17 > 0:22:21by putting chords or sounds together
0:22:21 > 0:22:24that nobody thought would sound beautiful together,
0:22:24 > 0:22:26and he knew how to do that.
0:22:39 > 0:22:42He would also link them together
0:22:42 > 0:22:47with these melodies that were out of heaven.
0:22:49 > 0:22:51SINGING IN OWN LANGUAGE
0:23:08 > 0:23:13He created a new grammar or vocabulary of harmony,
0:23:13 > 0:23:15something that inspires musicians,
0:23:15 > 0:23:17especially jazz musicians, all over the world.
0:23:34 > 0:23:37By the end of the 1950s, a whole new scene was emerging here
0:23:37 > 0:23:41in the beachfront South Zone area of Rio.
0:23:41 > 0:23:43As the major players brought bossa out of their apartments
0:23:43 > 0:23:47and into the world, their new sound, their new way of playing,
0:23:47 > 0:23:51found their home in a loose network of small clubs and bars,
0:23:51 > 0:23:53most famously here in Bottle Alley.
0:23:57 > 0:24:00SINGING IN OWN LANGUAGE
0:24:17 > 0:24:19The development of bossa nova,
0:24:19 > 0:24:22the promotion of it,
0:24:22 > 0:24:25was done in this small nightclub
0:24:25 > 0:24:28that can hold 40, 50 people,
0:24:28 > 0:24:31very tiny tables.
0:24:31 > 0:24:34But you could listen to Tom Jobim, to Joao Gilberto.
0:24:34 > 0:24:38They could almost avoid amplification,
0:24:38 > 0:24:41that was beautiful that time.
0:24:41 > 0:24:45So, Sergio, when Bottles Bar was first opened in the 1950s and '60s,
0:24:45 > 0:24:47it was THE place to come, wasn't it?
0:25:27 > 0:25:29So the stars of stage and screen were now enjoying the new beat,
0:25:29 > 0:25:32alongside the cafe crowd in Rio,
0:25:32 > 0:25:35and now they could also take home bossa nova on vinyl,
0:25:35 > 0:25:37as the music business rushed to release albums
0:25:37 > 0:25:39by all the original gang.
0:25:39 > 0:25:42Even the record covers had their own, new aesthetic,
0:25:42 > 0:25:45in keeping with the cool, minimalism of the movement.
0:25:46 > 0:25:48And in spring 1961,
0:25:48 > 0:25:51a group of respected American jazz musicians touched down in Brazil
0:25:51 > 0:25:55as part of a state-sponsored goodwill tour, and their interest
0:25:55 > 0:25:59in the new scene ran deeper than just a good night out.
0:26:10 > 0:26:13All the bossa boys were listening to American jazz, but what they didn't
0:26:13 > 0:26:16realise was that the big names in American jazz
0:26:16 > 0:26:19were listing to them, too, and they loved what they were hearing.
0:26:19 > 0:26:22Stars like Charlie Byrd and Gerry Mulligan flew down here
0:26:22 > 0:26:24to Rio to visit and to play,
0:26:24 > 0:26:27and the musical friendships that were born then would catapult
0:26:27 > 0:26:30bossa nova onto the world stage.
0:26:52 > 0:26:54When we talk about the classic moment when bossa nova
0:26:54 > 0:26:57caught the attention of the jazz musicians up in the States,
0:26:57 > 0:26:59what did they like about it,
0:26:59 > 0:27:01what was it about bossa nova that made them sit up?
0:27:03 > 0:27:05I think there are...
0:27:05 > 0:27:10musical elements that are very common to both languages.
0:27:10 > 0:27:13The first one is melody.
0:27:13 > 0:27:16Because when you put it in relation to the harmony,
0:27:16 > 0:27:18they become really complex notes,
0:27:18 > 0:27:23chords that a jazz player will go, "Yes, that's what I need."
0:27:23 > 0:27:25You know, it's juicy.
0:27:36 > 0:27:40They identified rhythm cos it has very much of what they gave to us,
0:27:40 > 0:27:41especially the harmony.
0:27:41 > 0:27:45The harmony, it's all from the American jazz.
0:27:45 > 0:27:48Guitarist Charlie Byrd wasted no time in recording his own versions
0:27:48 > 0:27:51of the bossa nova he heard in Rio,
0:27:51 > 0:27:54teaming up with the legendary saxophonist Stan Getz
0:27:54 > 0:27:56on the album Jazz Samba.
0:27:56 > 0:27:57Released in April '62,
0:27:57 > 0:28:00it sold half a million copies in 18 months
0:28:00 > 0:28:03and became the only jazz album ever
0:28:03 > 0:28:07to hit number one on the Billboard pop chart,
0:28:07 > 0:28:11and the Tom Jobim tune Desafinado led the charge in the hit parade.
0:28:26 > 0:28:29Here you have a mystery. The public really went for this.
0:28:29 > 0:28:33It's jazz but I guess I'll use the word "accessible."
0:28:33 > 0:28:37It's the melody, even though it's complex, is still singable,
0:28:37 > 0:28:39which is sort of amazing.
0:28:41 > 0:28:44It's not that easy, it's not Do Re Mi.
0:28:44 > 0:28:46That may have been the reason that,
0:28:46 > 0:28:50wow, here's an audience who was looking for something like that.
0:28:50 > 0:28:53And, interestingly enough, it wasn't vocal at the time,
0:28:53 > 0:28:56Desafinado was an instrumental record
0:28:56 > 0:28:59who hit way up in the top of the pop charts.
0:28:59 > 0:29:02That's amazing in the music business.
0:29:11 > 0:29:13Spying an opportunity after Desafinado's success,
0:29:13 > 0:29:17record exec Sidney Frey hatched a plan
0:29:17 > 0:29:20to introduce bossa's originators to the US market.
0:29:23 > 0:29:26- REPORTER:- In music, if you want to start a movement, you hire a hall,
0:29:26 > 0:29:30Carnegie Hall, to spread the word and the song.
0:29:30 > 0:29:33One of the record executives had this idea to do a concert
0:29:33 > 0:29:37at Carnegie Hall, really presenting Brazilian musicians.
0:29:37 > 0:29:39That was their real entryway
0:29:39 > 0:29:42into what becomes an international market.
0:29:45 > 0:29:47The importance of this opportunity was almost lost
0:29:47 > 0:29:51on the more laid-back members of the scene back in Rio.
0:30:29 > 0:30:32I'd never had been to the States before and I was amazed, you know,
0:30:32 > 0:30:36the autumn in New York, you know, it's a beautiful season.
0:31:10 > 0:31:15We went to the Carnegie Hall and they were lines of people,
0:31:15 > 0:31:18it was crowded. Carnegie Hall was crowded.
0:31:18 > 0:31:22And it was full of important musicians in the audience.
0:31:22 > 0:31:26And we realised that something important was happening.
0:31:43 > 0:31:45- REPORTER:- This was the official send-off for bossa nova.
0:31:45 > 0:31:48But the movement was already on its way and it's been going
0:31:48 > 0:31:50all the stronger since.
0:31:50 > 0:31:53In the record shops, racks full of bossa nova
0:31:53 > 0:31:57that swings like Castro-Neves and some that's sweet and lyrical.
0:31:57 > 0:32:00In either form, bossa nova is in.
0:32:00 > 0:32:02# Blame it on the bossa nova
0:32:02 > 0:32:06# With its magic spell... #
0:32:06 > 0:32:08Some people just got on the bandwagon, didn't they?
0:32:08 > 0:32:12Yes. The bossa nova dance craze, for instance, which never existed.
0:32:12 > 0:32:14- What was that? - I have no idea.
0:32:14 > 0:32:20But you had to have a dance because Latin music was all about dancing.
0:32:20 > 0:32:24Now, samba is a dance, bossa nova, as far as I know, never was.
0:32:24 > 0:32:26With the bossa nova,
0:32:26 > 0:32:30the basic step is taken to the side with a little twist motion.
0:32:30 > 0:32:33# Blame it on the bossa nova
0:32:33 > 0:32:36# With its magic spell... #
0:32:36 > 0:32:39Bossa nova became so popular,
0:32:39 > 0:32:40advertising just love it.
0:32:40 > 0:32:44Everything was bossa nova. "Oh, it is a new building,
0:32:44 > 0:32:46"buy the new building and the apartments,
0:32:46 > 0:32:48"they are the bossa nova apartment."
0:32:48 > 0:32:53They said, "Oh, you buy the new suit, bossa nova suit."
0:32:53 > 0:32:56Bossa nova icebox, bossa nova lawyers.
0:32:56 > 0:32:58THEY LAUGH
0:32:58 > 0:33:03Many things. And now I heard here on the radio the bossa nova haircut,
0:33:03 > 0:33:05bossa nova shoes.
0:33:05 > 0:33:09This is not very good for the music.
0:33:18 > 0:33:21Madison Avenue's version of bossa was but the latest fad
0:33:21 > 0:33:25aimed squarely at a middle-class America and its preconceptions
0:33:25 > 0:33:27about life south of the border.
0:33:28 > 0:33:31Brazil represents, for the United States,
0:33:31 > 0:33:34a utopian other, so Rio,
0:33:34 > 0:33:37the most beautiful city in the world.
0:33:37 > 0:33:41Brazilian culture, sensual, uninhibited,
0:33:41 > 0:33:46notions of beauty are paramount.
0:33:46 > 0:33:49And when Jobim, Gilberto and Stan Getz got it together
0:33:49 > 0:33:52in a New York recording studio in the spring of 1963,
0:33:52 > 0:33:55the song Jobim pulled from his suitcase
0:33:55 > 0:33:56brought this fantasy to life
0:33:56 > 0:33:59in the form of The Girl From Ipanema.
0:33:59 > 0:34:02SINGING IN OWN LANGUAGE
0:34:13 > 0:34:15He and his writing partner, Vinicius de Moraes,
0:34:15 > 0:34:18had composed the song at least a year earlier
0:34:18 > 0:34:21on a typically relaxed day by the beach.
0:34:21 > 0:34:23Vinicius de Moraes, you know,
0:34:23 > 0:34:27he wrote the lyrics and I wrote the music.
0:34:27 > 0:34:30We used to drink some draught, you know,
0:34:30 > 0:34:34and watch the girls going to the sea, to the beach.
0:34:34 > 0:34:36Nobody knew who she was...
0:34:37 > 0:34:41..but she was so beautiful that everybody gasped.
0:34:41 > 0:34:45SINGING IN OWN LANGUAGE
0:34:45 > 0:34:48The beautiful girl immortalised in the song had a name,
0:34:48 > 0:34:49Helo Pinheiro,
0:34:49 > 0:34:53and 50 years on, she's still turning heads on her way to the beach.
0:34:54 > 0:34:58The two men, Tom Jobim and Vinicius de Moraes,
0:34:58 > 0:35:00they are sitting at the bar,
0:35:00 > 0:35:05the snack bar, and I was walking to the beach
0:35:05 > 0:35:09and one told to him,
0:35:09 > 0:35:15"Oh, I love the girl. All the time she passes here."
0:35:15 > 0:35:17And when I passed,
0:35:17 > 0:35:21"I am going to make a song for this girl."
0:35:21 > 0:35:24The Girl From Ipanema comes,
0:35:24 > 0:35:28it changed my life because it make me famous.
0:35:37 > 0:35:41Helo Pinheiro became a symbol of the quintessential Rio beach girl,
0:35:41 > 0:35:43but also represented something deeper
0:35:43 > 0:35:45for lyricist Vinicius de Moraes,
0:35:45 > 0:35:48a spiritual godfather to the bossa generation.
0:35:48 > 0:35:52He was a great friend, was a great man.
0:35:52 > 0:35:55Very cultured, very warm,
0:35:55 > 0:35:58and women loved him.
0:35:58 > 0:36:02And believe me, he was short, bald, women just fell at his feet.
0:36:02 > 0:36:04It was incredible.
0:36:04 > 0:36:07THEY SING IN OWN LANGUAGE
0:36:09 > 0:36:12He was a gentleman and he was raised to be like that,
0:36:12 > 0:36:17to believe that a woman should be put on a higher ground,
0:36:17 > 0:36:20to be adored and admired,
0:36:20 > 0:36:23and made for love and forgiveness.
0:36:23 > 0:36:25He wrote that, actually.
0:36:25 > 0:36:29Yes, he probably needed a lot of forgiveness during his life.
0:36:29 > 0:36:30THEY LAUGH
0:36:30 > 0:36:32Oh, yeah, definitely.
0:36:32 > 0:36:35But, you know, how could you not forgive him? He was adorable.
0:36:35 > 0:36:40A true bohemian, by the time the Bard of bossa began writing songs,
0:36:40 > 0:36:44he'd already led a colourful life as a diplomat and man of letters.
0:36:44 > 0:36:47He was a very important romantic poet.
0:36:47 > 0:36:50One of the most important poets in Brazil.
0:36:50 > 0:36:52And then he became a lyricist.
0:36:52 > 0:36:56And he was one of the greatest lyricist in bossa nova.
0:36:56 > 0:37:01He was the first Brazilian to have a scholarship
0:37:01 > 0:37:03granted by Oxford University.
0:37:03 > 0:37:10And he was very fond of Shakespearean poetry.
0:37:10 > 0:37:13The best Vinicius moments, you have things like,
0:37:13 > 0:37:15"Que coisa mais bonita voce ser,"
0:37:15 > 0:37:18"What a beautiful thing you are."
0:37:18 > 0:37:21So simple things,
0:37:21 > 0:37:27and Shakespeare reached it in Romeo And Juliet or Antony And Cleopatra.
0:37:27 > 0:37:30Very simple things but very beautiful things.
0:37:30 > 0:37:34Vinicius ensured the words in bossa nova
0:37:34 > 0:37:36were taken as seriously as the music.
0:37:36 > 0:37:39And the themes of love, the smile and the flower
0:37:39 > 0:37:42became something of a manifesto for the genre.
0:37:42 > 0:37:45SINGING IN OWN LANGUAGE
0:37:45 > 0:37:48However, the English-speaking audience were none the wiser.
0:37:48 > 0:37:52That is until the recording of The Girl From Ipanema.
0:37:52 > 0:37:54SINGING IN OWN LANGUAGE
0:37:58 > 0:37:59Back in New York,
0:37:59 > 0:38:02crack lyricist Norman Gimbel had been enlisted to translate
0:38:02 > 0:38:05the Portuguese lyrics into English.
0:38:05 > 0:38:08Best known for his subsequent hits Killing Me Softly
0:38:08 > 0:38:09and the Happy Days theme tune...
0:38:09 > 0:38:12# These days are ours
0:38:12 > 0:38:15- # Happy and free - Those happy days
0:38:15 > 0:38:19# These days are ours... #
0:38:19 > 0:38:23His interpretation of Garota de Ipanema cuts to the chase.
0:38:23 > 0:38:25The first Portuguese lyrics, first couple lines, are...
0:38:25 > 0:38:29"Olha que coisa mais linda, cheio de graca,"
0:38:29 > 0:38:31which literally is,
0:38:31 > 0:38:35"Look at this beautiful thing, full of grace."
0:38:35 > 0:38:37That's what it is literally.
0:38:37 > 0:38:40In English it's, "Tall and tan and young and lovely,
0:38:40 > 0:38:43"the girl from Ipanema." So it's very different.
0:38:43 > 0:38:47Antonio Carlos Jobim didn't like the translation.
0:38:47 > 0:38:50He was completely furious
0:38:50 > 0:38:54with the words they put in English,
0:38:54 > 0:38:58describing physically the girl
0:38:58 > 0:39:01and not describing the impression
0:39:01 > 0:39:05of something full of grace that walks by.
0:39:05 > 0:39:07When you say full of grace,
0:39:07 > 0:39:11you are referring to Our Lady of Mercy
0:39:11 > 0:39:14and you need a woman to be your saviour.
0:39:14 > 0:39:18But when you say tall and tanned and young,
0:39:18 > 0:39:23you are talking about a beauty contest, it's so vulgar.
0:39:23 > 0:39:27All objections aside, it was decided that at least one verse in English
0:39:27 > 0:39:30would be a good idea after Joao Gilberto had kicked off the song
0:39:30 > 0:39:32in Portuguese.
0:39:32 > 0:39:36Step forward Joao's wife, Astrud Gilberto.
0:39:36 > 0:39:39# Tall and tan and young and lovely
0:39:39 > 0:39:42# The girl from Ipanema goes walking
0:39:42 > 0:39:47# And when she passes each one she passes goes
0:39:47 > 0:39:50# "Ah..." #
0:39:50 > 0:39:54Astrud, who had, as far as I know,
0:39:54 > 0:39:57didn't really have a career here at that point,
0:39:57 > 0:40:00she was the only one who could speak English,
0:40:00 > 0:40:03but she sings it in this karaoke style,
0:40:03 > 0:40:06which is intimate and simple,
0:40:06 > 0:40:09no vibrato.
0:40:09 > 0:40:13Articulation is gorgeous, she's swinging, in her way.
0:40:13 > 0:40:17# But each day when she walks to the sea
0:40:17 > 0:40:21# She looks straight ahead not at he... #
0:40:21 > 0:40:24It was so lovely. She was a girl from Ipanema singing.
0:40:24 > 0:40:26She was the way...
0:40:26 > 0:40:28Nothing... You know, nothing...
0:40:28 > 0:40:30Very natural singing.
0:40:30 > 0:40:33# When she passes each one she passes goes
0:40:33 > 0:40:35# "Ah..." #
0:40:35 > 0:40:39Seduced by Astrud's voice, producer Creed Taylor made a decisive call
0:40:39 > 0:40:42when it came to mastering the single.
0:40:44 > 0:40:48The producer heard her singing
0:40:48 > 0:40:50and then they took Joao Gilberto out,
0:40:50 > 0:40:54they put only Astrud Gilberto singing.
0:40:54 > 0:40:56# Oh
0:40:56 > 0:41:00# But he watches so sadly
0:41:01 > 0:41:08# How can he tell her he loves her? #
0:41:08 > 0:41:12And with that, what started as a track on a Brazilian jazz album,
0:41:12 > 0:41:14sung in Portuguese by a man,
0:41:14 > 0:41:17became a pop single performed by a woman in English
0:41:17 > 0:41:19but with an exotic accent.
0:41:19 > 0:41:23# She looks straight ahead not at he
0:41:23 > 0:41:27# Tall and tanned and young and lovely... #
0:41:27 > 0:41:31This transformed The Girl From Ipanema's global appeal.
0:41:31 > 0:41:33That accented voice
0:41:33 > 0:41:39is something that becomes kind of marketable for the record company.
0:41:39 > 0:41:43We have to take into account not just a sonic quality of her voice
0:41:43 > 0:41:46but all that Brazil represents.
0:41:46 > 0:41:50There is a lot of the foreign...
0:41:50 > 0:41:55look into Brazil that you get through that version.
0:41:55 > 0:41:58Tall and tanned and young and lovely -
0:41:58 > 0:41:59the exotic.
0:41:59 > 0:42:02It is just an irresistible sort of image, isn't it?
0:42:02 > 0:42:05And it allows...
0:42:05 > 0:42:08everyone abroad to project, especially men,
0:42:08 > 0:42:11their fantasies about this woman,
0:42:11 > 0:42:13this Brazilian woman.
0:42:13 > 0:42:16# Tall and tan and young and lovely
0:42:16 > 0:42:20# The girl from Ipanema goes walking
0:42:20 > 0:42:22# And when she passes, he smiles
0:42:22 > 0:42:24# But she doesn't see
0:42:24 > 0:42:27# She just doesn't see... #
0:42:27 > 0:42:29The song was an international smash hit,
0:42:29 > 0:42:32rising to the top five in the Billboard Hot 100
0:42:32 > 0:42:35and number one on the easy listening charts in the States.
0:42:35 > 0:42:37It broke the top 30 in the UK
0:42:37 > 0:42:41and went on to win the Grammy award for Record of the Year.
0:42:41 > 0:42:44What was your father's reaction to his song becoming the record
0:42:44 > 0:42:47of the year and getting a Grammy for being the record of the year?
0:42:47 > 0:42:52It was a big surprise because it was a jazz record...
0:42:54 > 0:42:58..and never a jazz record had sold so much.
0:42:58 > 0:43:01It's accessible, it swings, and then it's in English.
0:43:01 > 0:43:03That was a genius move.
0:43:03 > 0:43:06The public likes it, the musicians like it.
0:43:06 > 0:43:08- It's the perfect record. - It's a perfect record.
0:43:08 > 0:43:12I think it's a very nice song, I think it's a very well-written song,
0:43:12 > 0:43:16beautiful melody, and incredible lyrics.
0:43:16 > 0:43:20It was like a bossa nova hymn all over the world.
0:43:20 > 0:43:23The Girl From Ipanema has been recorded over 500 times
0:43:23 > 0:43:26by some of the biggest names in music.
0:43:26 > 0:43:29# Tall and tan and young and lovely
0:43:29 > 0:43:33# The girl from Ipanema goes walking
0:43:33 > 0:43:35# When he passes each girl he passes goes
0:43:35 > 0:43:37# "Ah..."
0:43:37 > 0:43:41# When she passes each one she passes goes
0:43:41 > 0:43:43# Daboo-du-daa... #
0:43:45 > 0:43:47It's believed to be the second-most recorded popular song
0:43:47 > 0:43:52of the 20th century, second only to the Beatles' Yesterday.
0:43:52 > 0:43:55And the Beatles themselves were honoured at the same Grammy awards
0:43:55 > 0:43:59in 1965 for Best New Artist.
0:43:59 > 0:44:03Just as The Girl From Ipanema broke bossa nova into the mainstream,
0:44:03 > 0:44:06the Brits arrived on American turf with their own new beat,
0:44:06 > 0:44:09rendering all that came before yesterday's music.
0:44:21 > 0:44:25However, this changing of the guard on the front line of pop was trivial
0:44:25 > 0:44:29compared to the real invasion going on back home in Rio.
0:44:29 > 0:44:32It was an impact for us.
0:44:32 > 0:44:36Everything has changed. Freedom of the press - over.
0:44:38 > 0:44:41The bossa nova President Kubitschek's successors
0:44:41 > 0:44:45had begun to lean radically towards communist regimes.
0:44:47 > 0:44:49On April 1st, 1964,
0:44:49 > 0:44:51a US-backed military coup
0:44:51 > 0:44:55brutally called time on Brazil's experiment with democracy.
0:44:56 > 0:45:00When the military came in '64 and took power,
0:45:00 > 0:45:04nobody knew it was going to become so bloody and dangerous.
0:45:04 > 0:45:07There were people being taken to prison, being tortured,
0:45:07 > 0:45:09artists being censored.
0:45:09 > 0:45:12Suddenly, you know, we lived under
0:45:12 > 0:45:17a very, very oppressive dictatorship.
0:45:17 > 0:45:22Everybody was afraid to say anything because maybe some neighbour...
0:45:22 > 0:45:26This kind of crazy thing that, for Rio, Brazil, it was crazy.
0:45:26 > 0:45:30We were persecuted. There were announcements on the radio -
0:45:30 > 0:45:36"Don't ever play Antonio Carlos Jobim."
0:45:36 > 0:45:39They put him on the blacklist.
0:45:46 > 0:45:48SHE SINGS IN OWN LANGUAGE
0:45:56 > 0:46:01Bossa nova's fixation on romantic themes and its air of refinement,
0:46:01 > 0:46:04which so fitted the optimism of the Kubitschek era,
0:46:04 > 0:46:07was now at odds with the mood of the nation.
0:46:08 > 0:46:10SHE SINGS IN OWN LANGUAGE
0:46:15 > 0:46:18The young generations, like my own,
0:46:18 > 0:46:23a lot of people thought bossa nova was not reflecting any more
0:46:23 > 0:46:26the situation of the country because it was too light,
0:46:26 > 0:46:29and the situation was too heavy.
0:46:29 > 0:46:32So all of a sudden that was old news.
0:46:32 > 0:46:34SHE SINGS IN OWN LANGUAGE
0:46:40 > 0:46:44Some people carried on writing, you know,
0:46:44 > 0:46:49love songs and ignoring everything else, as always, of course.
0:46:49 > 0:46:53But some people thought, no, no, no, we can't, we have to,
0:46:53 > 0:46:58we have to try and do what we can, using music perhaps, let's try.
0:46:58 > 0:47:03There was a big split on bossa nova from that time on.
0:47:03 > 0:47:07Menescal stayed on this bossa nova.
0:47:07 > 0:47:13Light, jazz, beaches, little boats.
0:47:13 > 0:47:15Loving the afternoon.
0:47:35 > 0:47:37SHE SINGS IN OWN LANGUAGE
0:47:40 > 0:47:43But for others, it was time to take a stand,
0:47:43 > 0:47:46and the split deepened in the bossa generation
0:47:46 > 0:47:50when Nara Leao turned her back on her old crowd by the beach.
0:48:21 > 0:48:23She was very outspoken about bossa nova
0:48:23 > 0:48:27- and how it was dead and useless... - Yeah, yeah, yeah, yeah.
0:48:27 > 0:48:30- Yeah, very much.- They called her the bossa nova muse.
0:48:31 > 0:48:34But being the clever woman she was,
0:48:34 > 0:48:37she wouldn't stand in that role forever,
0:48:37 > 0:48:40she was a very political head.
0:49:05 > 0:49:07They started to do...
0:49:09 > 0:49:15..music and lyrics about peasants,
0:49:15 > 0:49:21oppressed people, and all the lyrics should be aggressive,
0:49:21 > 0:49:24more related to our origins.
0:49:24 > 0:49:27We should do music for the people.
0:49:27 > 0:49:31SINGING IN OWN LANGUAGE
0:49:31 > 0:49:34Nara Leao was not alone in her opinion.
0:49:34 > 0:49:36SINGING IN OWN LANGUAGE
0:49:37 > 0:49:41And as the counterculture kicked in hard at the end of the decade,
0:49:41 > 0:49:45Tropicalia blasted away the quiet minimalism of bossa with a heady mix
0:49:45 > 0:49:48of rock and roll and psychedelia.
0:49:49 > 0:49:52Bossa nova was nothing any more,
0:49:52 > 0:49:55was completely despicable,
0:49:55 > 0:50:00was corny, was cheesy, was...
0:50:00 > 0:50:02something very old.
0:50:02 > 0:50:06And the great bossa nova stars,
0:50:06 > 0:50:10Jobim, Joao Gilberto, they moved to the US.
0:50:14 > 0:50:18Insulated from the turbulent times back home, bossa nova in the US
0:50:18 > 0:50:21had matured like a fine wine into a grown-up music for
0:50:21 > 0:50:25the middle classes enjoying their creature comforts in the suburbs.
0:50:27 > 0:50:30The instrument - guitar. The beat - bossa nova.
0:50:30 > 0:50:34The artist - Antonio Carlos Jobim.
0:50:34 > 0:50:36HE SINGS IN OWN LANGUAGE
0:50:40 > 0:50:43For Jobim, that was the key to the world.
0:50:43 > 0:50:46For Frank Sinatra to come along and say, "Stop everything,
0:50:46 > 0:50:48"it's bossa nova, it's Jobim,"
0:50:48 > 0:50:51that's like God coming down and saying,
0:50:51 > 0:50:54"This I'm going to put my signature on." That's a big deal.
0:50:54 > 0:50:58Tom Jobim settled into his new position alongside Ol' Blue Eyes
0:50:58 > 0:51:03with consummate ease. The album they recorded together in 1967
0:51:03 > 0:51:07is widely regarded as one of Sinatra's finest,
0:51:07 > 0:51:09and completed bossa nova's induction
0:51:09 > 0:51:11to the great American song book.
0:51:13 > 0:51:15And, of course, in this national TV special,
0:51:15 > 0:51:18The Girl From Ipanema was the jewel of the set list.
0:51:18 > 0:51:21# Tall and tan and young and lovely
0:51:21 > 0:51:25# The girl from Ipanema goes walking and
0:51:25 > 0:51:29# When she passes each one she passes goes
0:51:29 > 0:51:33# "Ah..."
0:51:33 > 0:51:35HE SINGS IN OWN LANGUAGE
0:51:41 > 0:51:44I love that beautiful performance they did live, playing there,
0:51:44 > 0:51:46in front with the suits.
0:51:46 > 0:51:50And smoking the cigarette, Sinatra is smoking and singing.
0:51:50 > 0:51:52Can you believe this?
0:51:53 > 0:51:56My grandfather is playing the guitar because he was basically
0:51:56 > 0:51:58the piano player but he learned the guitar.
0:51:58 > 0:52:01And Sinatra wanted to have on the album the guitar
0:52:01 > 0:52:04because it looks more Latin, so he asked for it.
0:52:04 > 0:52:06So he had to study a little more.
0:52:06 > 0:52:10Whatever Sinatra asks you to do, you have to do.
0:52:10 > 0:52:13BOTH: # But each day when she walks to the sea
0:52:13 > 0:52:17# She looks straight ahead not at me... #
0:52:17 > 0:52:20Wow. Can't believe it.
0:52:20 > 0:52:22I still can't believe it.
0:52:22 > 0:52:25This is, in a sense, even more of an arrival
0:52:25 > 0:52:29into world musical culture than getting invited
0:52:29 > 0:52:34to perform at Carnegie Hall. This is the real arrival for Jobim.
0:52:34 > 0:52:39This is the mark that he is a major composer.
0:52:39 > 0:52:42I think he was valued in America.
0:52:42 > 0:52:46I don't think the bossa nova people are valued enough in Brazil.
0:52:46 > 0:52:50They would talk about bossa nova, even in a dismissive way, like, oh,
0:52:50 > 0:52:53you know, that's boring, that's over.
0:52:53 > 0:52:58"They sold out to America," was the reaction in Brazil.
0:52:58 > 0:53:00Very Brazilian...
0:53:00 > 0:53:03Jobim had a phrase, in Brazil...
0:53:04 > 0:53:08..success is a personal offence.
0:53:09 > 0:53:12It was so criticised in Brazil.
0:53:12 > 0:53:14This poor man, this genius.
0:53:15 > 0:53:19Few Brazilians have made so much for this country than Jobim.
0:53:19 > 0:53:23In just a few years, bossa nova had gone mainstream,
0:53:23 > 0:53:25growing up from an intimate local beat
0:53:25 > 0:53:30into an internationally renowned repertoire of popular standards.
0:53:34 > 0:53:36SHE SINGS IN OWN LANGUAGE
0:53:45 > 0:53:48I've been in Romania and Russia,
0:53:48 > 0:53:50so faraway places
0:53:50 > 0:53:52and always the same.
0:53:52 > 0:53:55It's always...
0:53:55 > 0:53:58full of people, sold out.
0:53:58 > 0:54:01And in Japan they are crazy about bossa nova.
0:54:01 > 0:54:04SHE SINGS IN OWN LANGUAGE
0:54:12 > 0:54:14You go anywhere in the world
0:54:14 > 0:54:17and you can hear bossa nova in major concert halls.
0:54:17 > 0:54:21I've seen Joao Gilberto in Carnegie Hall.
0:54:21 > 0:54:24It's the same repertoire being performed in more or less
0:54:24 > 0:54:28the same way that it has been for the past 50 years.
0:54:28 > 0:54:32In this sense, bossa nova can be deemed a classical music.
0:54:32 > 0:54:33Bossa nova, to me, is art,
0:54:33 > 0:54:36I separate it, I make a distinction there.
0:54:36 > 0:54:40The music that's big in Brazil nowadays is the entertainment music.
0:54:40 > 0:54:46It's music done for people to dance to, to dance,
0:54:46 > 0:54:49to enjoy carnival,
0:54:49 > 0:54:52it's the big masses sort of music.
0:54:52 > 0:54:54SHE SINGS IN OWN LANGUAGE
0:54:58 > 0:55:01I love entertainment,
0:55:01 > 0:55:06but if I want to kind of be quiet and be taken somewhere else,
0:55:06 > 0:55:10I need the right music for it, and it's not going to be...
0:55:10 > 0:55:13the entertainment music, it's art, I want to go somewhere,
0:55:13 > 0:55:14it takes me somewhere.
0:55:17 > 0:55:19SINGING IN OWN LANGUAGE
0:55:25 > 0:55:26Wherever you are in the world,
0:55:26 > 0:55:30the place bossa nova will always transport you to is Rio,
0:55:30 > 0:55:31the birthplace,
0:55:31 > 0:55:35where for many years this precious music was all but forgotten.
0:55:35 > 0:55:40But slowly Brazil has begun to value its greatest cultural export
0:55:40 > 0:55:43and celebrate bossa's founding fathers.
0:55:43 > 0:55:46SINGING IN OWN LANGUAGE
0:56:00 > 0:56:05These heroes of bossa nova became...
0:56:05 > 0:56:08part of our landscape
0:56:08 > 0:56:10nowadays in Rio.
0:56:10 > 0:56:15Vinicius de Moraes is a street in Ipanema.
0:56:15 > 0:56:19The neighbourhood celebrated his wonderful song.
0:56:19 > 0:56:23And Tom Jobim is our main airport.
0:56:23 > 0:56:26Now, we have both
0:56:26 > 0:56:32as part of our sentimental and geographical landscape.
0:56:40 > 0:56:44And even away from the beachfront bars and tourist attractions,
0:56:44 > 0:56:48the irrepressible sound of The Girl From Ipanema can still be heard.
0:56:48 > 0:56:51# Tall and tan and young and lovely
0:56:51 > 0:56:55# The girl from Ipanema goes walking and
0:56:55 > 0:56:59# When she passes each guy she passes goes
0:56:59 > 0:57:03# "Ah..."
0:57:03 > 0:57:07I've been here in Rio for a week and I've seen for myself the magic
0:57:07 > 0:57:10that inspired bossa nova.
0:57:10 > 0:57:13Of course, we can't compare today with the golden age
0:57:13 > 0:57:15of the late 1950s and early '60s
0:57:15 > 0:57:19when life here in Rio was good and the whole world fell in love
0:57:19 > 0:57:21with that idyllic image of Brazil
0:57:21 > 0:57:25as painted by the song The Girl From Ipanema.
0:57:25 > 0:57:28# But each day when she walks to the sea
0:57:28 > 0:57:33# She looks straight ahead not at me... #
0:57:33 > 0:57:36You know what? That's OK because that idyllic image still exists.
0:57:36 > 0:57:39You can go down to the beach any day of the week and see your very own
0:57:39 > 0:57:42girl from Ipanema making her way to the white sand
0:57:42 > 0:57:44and the clear blue sea.
0:57:46 > 0:57:48And the music lives on,
0:57:48 > 0:57:51in places like this, high up in the hills above the beach,
0:57:51 > 0:57:55and it lives on in the hearts of the people here
0:57:55 > 0:58:00because bossa nova is the soundtrack to that ideal version of Brazil.
0:58:00 > 0:58:03SINGING IN OWN LANGUAGE