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  1. Who is Dino D'Santiago, the new darling of Madonna in Lisbon [My English google translation is shite, so fluent/native Portoguese speakers are welcome to do the correct honor if they wish:] by Maurício Meireles Dino D'Santiago was born into a family that believed in God. In the poor neighborhood of the Algarve where they grew up, he and his brothers started singing in the church - so he says, they had a passion for harmony before the rhythm. In the 1990s, rap began to grow in Portugal. He still remembers when he met Rational MCs. "For the first time the voice of the people crossed the Atlantic. And we recognized this cry, "he says, remembering that the fishing village where he lived had no electricity or running water. In Quarteira, the chic houses flank the huts. He left the sacred music for the invitations he received from the rappers, who wanted someone to sing the choruses. And he went. Today is another moment. Already living in Lisbon, one day she sang "Petit Pays" by Cesária Évora - the song that speaks of a dry land but full of love, and saudade dela- in a presentation. There she received another invitation from a friend to meet a person who, she said, would like him. When he saw it, he was sitting on the floor of a party with a blond American who had moved to the Portuguese capital - it was Madonna. He sang "Sodade" by Cesaria, of whom she is a fan. The singer asked him about his life. "She says, 'Give me a hug, thanks to you, I found a strong reason to stay in the city,'" says D'Santiago. He, who started there to present the lusófona sonority to the pop diva, became the musical guide of Madonna in the Portuguese capital. At one time, Italian Vogue would publish a photo of the singer on his lap, one night in the Tejo Bar, famous for musicians in Alfama, one of Lisbon's Bohemian neighborhoods. In interviews, Madonna is grateful for the collaboration on the new album. "He introduced me to everything," she said, putting a song in one of the album's videos. In addition to the musical references, it was D'Santiago who trained with her the Portuguese part of "Faz Gostoso", sung with Anitta. He says that on the album's tour, Madonna tries to reproduce on stage a homey atmosphere that parties in which he took her. "It's nice to see something that you dreamed of. You have something unique in the city of Lisbon. She's going on an intimate tour, she's going to take the 14-wheeler road. " D'Santiago refers to the Batukadeiras Orchestra, which he presented to her and is on the album "Madame X". Last year, Madonna shared an Instagram video that featured a prayer with the women of the group - they sang "Mary, mother of Jesus / Mary, our mother". "It was all very beautiful. She is a very noble woman. Catapulted my life to another record, made people look at my work. " It's true that having Madonna talking good about you is not bad at all, but D'Santiago has a different road. It began to take off with the Portuguese band Expensive Soul, in which it was 11 years. "I started listening to Marvin Gaye, Sam Cooke, Herbie Hancock. It was my college, "he says, who still went through the band Nu Soul Family. The meeting with the musicality of Cape Verde, which among others enchanted Madonna, is the story of the meeting of an identity. It is the country of his father and his mother, a mason and a cook. He traveled there for the first time 30 years ago and hated it. "It was traumatizing. I went inland, went from donkey to church on the mountain, there was no drinking water, there was no light. I was 20 years without coming back. " Only when he returned with his father after that time did he make a sentimental journey into the family's origins. "I slept with my father in the same bed because it was a very poor house. Without wanting to, he hugged me. I had a strange feeling, but that lap made me feel good. Creole creation is hard, parents do not say 'I love you', they want you to be strong. " As a child, he saw the street through the window, the kids playing, and he felt bad for not having permission to leave. "We were locked up so we would not mix in the street. I dreamed about it. Most of these friends were arrested or died. We were saved by the loving prison of our fathers. " He did not dream of being a musician, because he wanted to study art history and teach. "At puberty, the manga had a lot of influence, drew nude women and exposed my need to grow. I passed it on to the songs, this revolutionary side of those who did not understand the Catholic Church. " The trip to the land of his parents changed his music and his name - added the D'Santiago, reference to the island of the country. When it was composed, there was a writing without revolt, with humor. He began to tread a different path and included the Cape Verdean creole in the letters. "I feel something of Creole in the Portuguese of Minas Gerais." Not to mention the rhythms that, in "Mundu Nôbu", his newly released album, appear with a tailor-made clothing for dance floors, dressed in urban aesthetics. D'Santiago has already appeared wearing a shirt that says "funaná is the new funk" - besides it appear the batuku and the kizomba, this one of Angola, among other rhythms. "The funaná accelerated just like the Brazilian funk. At first it was at 90 BPM, now it is at 160 BPM. We only do it with grog, our brandy, "he laughs. One of the album's most successful songs is "Como Seria", with the refrain that mixes Portuguese, Creole and English - "I give you much more of me / des k'um ta xinti / like Beyoncé and Jay-Z". The second verse means "the way I feel." When he left the stage to sing "Nôs Funaná" in the midst of a small crowd watching him on the EDP Truck, in the parallel programming of the last Flip, the audience jumped as if it were already intimate with that song. He even chanted Zeca Pagodinho's "I Leave It to Life". The songs are danceable, but also political. D'Santiago created "Raboita Sta. Catarina" on a visit to Cape Verde during the festivities in honor of the saint. At the same time as they celebrated, the volcano of Fogo island spat lava-the musician imagined Catarina in fury, because the people rebuffed while the policy was enough to push laws down his throat. "Our belief" sings against mental slavery. It was imagined during a two-hour trip between Viana and Luanda in Angola. "He has the remnants of war. You find dead people on the ground and no one touches them, because you're afraid of being found guilty. I felt a lot of submission. " It demonstrates a lyrical sensitivity formed in hip-hop. "It's a movement to spread. They are the new revolutionaries. As long as the industry does not accept this phenomenon, I will have to agree with Criollo when he says that he is a giant that no one wants to see, but when the garden dawns it is wrinkled. " THE QUEEN OF THE QUEEN The origin Claudino de Jesus Borges Pereira, Dino D'Santiago, is 36 years old and was born in Quarteira, in the Algarve region of Portugal. The beginnings He began to sing at the invitation of friends rappers. In 2004, he performed with the band Expensive Soul. Later, he was part of Nu Soul Family The work His first solo album was 'Me and Me' in 2008. In 2013, he released 'Eva', influenced by Cape Verdean music. At the end of last year, came 'Mundo Nôbu' The diva After meeting Madonna in Lisbon, she became a kind of musical guide for the singer in the Portuguese capital Quem é Dino D'Santiago, o novo queridinho de Madonna em Lisboa Grande influência por trás do disco 'Madame X', músico renova a sonoridade de Cabo Verde com roupagem dançante Atualizado: 17.jul.2019 às 10h40 Maurício Meireles Dino D’Santiago nasceu numa família que acreditava em Deus. No bairro pobre do Algarve onde cresceram, ele e seus irmãos começaram a cantar na igreja —por isso, diz, nutriram paixão pela harmonia antes do ritmo. Nos anos 1990, o rap começou a crescer em Portugal. Ele ainda se lembra quando conheceu os Racionais MC’s. “Pela primeira vez a voz do povo atravessou o Atlântico. E nós reconhecíamos esse grito”, conta, lembrando que a vila de pescadores onde viveu não tinha luz ou água encanada. Na Quarteira, as casas chiques ladeiam os casebres. Deixou a música sacra pelos convites que recebeu dos rappers, que queriam alguém para cantar os refrões. E ele foi. Hoje o momento é outro. Já vivendo em Lisboa, certo dia cantava “Petit Pays”, de Cesária Évora —a canção que fala de uma terra seca, mas cheia de amor, e da saudade dela— numa apresentação. Ali, recebeu outro convite de uma amiga para conhecer uma pessoa que, dizia ela, gostaria dele. Quando viu, estava sentado no chão de uma festa com uma americana loira que se mudara para a capital portuguesa —era Madonna. Ele cantou “Sodade”, de Cesária, de quem ela é fã. A cantora lhe perguntou de sua vida. “Ela diz então: ‘Dá-me um abraço, graças a ti encontrei um motivo forte para ficar na cidade’”, conta D’Santiago. Ele, que começou ali a apresentar a sonoridade lusófona à diva pop, se tornou o guia musical de Madonna na capital portuguesa. Dali a um tempo, a Vogue italiana publicaria uma foto da cantora no colo dele, numa noite do Tejo Bar, famoso por reunir músicos em Alfama, um dos bairros boêmios de Lisboa. Em entrevistas, Madonna tem agradecido pela colaboração no novo disco. “Ele me apresentou a tudo”, já disse ela, que pôs uma música dele num dos vídeos de divulgação do álbum. Além das referências musicais, foi D’Santiago que treinou com ela a parte em português de “Faz Gostoso”, cantada com Anitta. Ele conta que, na turnê do disco, Madonna tenta reproduzir no palco um ambiente caseiro que remete às festas em que a levou. “É bonito ver algo que tu sonhaste. Tens algo único na cidade de Lisboa. Ela está a fazer uma tour intimista, vai levar para a estrada 14 batucadeiras.” D’Santiago se refere à Orquestra Batukadeiras, que ele apresentou a ela e está no disco “Madame X”. No ano passado, Madonna compartilhou no Instagram um vídeo em que participava de uma prece com as mulheres do grupo —elas cantavam “Maria, mãe de Jesus/ Maria, nossa mãe”. “Foi tudo muito bonito. É uma mulher muito nobre. Catapultou minha vida para um outro registro, fez as pessoas olharem para a minha obra.” É verdade que ter Madonna falando bem de você por aí não é nada mau, mas D’Santiago tem estrada independente disso. Começou a decolar com a banda portuguesa Expensive Soul, na qual ficou 11 anos. “Comecei a ouvir Marvin Gaye, Sam Cooke, Herbie Hancock. Foi a minha faculdade”, diz ele, que ainda passou pela banda Nu Soul Family. O encontro com a musicalidade de Cabo Verde, que entre outras encantou Madonna, é a história do encontro de uma identidade. É o país de seu pai e de sua mãe, um pedreiro e uma cozinheira. Ele viajou para lá pela primeira vez há 30 anos e detestou. “Foi traumatizante. Fui para o interior, íamos de burro para a igreja na montanha, não havia água potável, não havia luz. Fiquei 20 anos sem voltar.” Só quando voltou com o pai, depois desse tempo, fez uma viagem sentimental às origens da família. “Dormi com meu pai na mesma cama, porque era uma casa muito pobre. Sem querer ele me abraçou. Tive uma sensação estranha, mas aquele colo me fez bem. A criação crioula é dura, os pais não dizem ‘eu te amo’, querem que você seja forte.” Na infância, via a rua pela janela, os moleques brincando, e se sentia mal por não ter autorização para sair. “Ficávamos trancados para não nos misturarmos na rua. Sonhava com aquilo. Grande parte desses amigos foi presa ou morreu. Fomos salvos pela prisão amorosa de nossos pais.” Não sonhava ser músico, porque queria estudar história da arte e dar aulas. “Na puberdade, o mangá tinha muita influência, desenhava mulheres nuas e expunha minha necessidade de crescer. Passei isso para as músicas, esse lado revolucionário de quem não entendia a Igreja Católica.” A viagem à terra de seus pais mudou sua músicas e seu nome —acrescentou o D’Santiago, referência à ilha do país. Quando foi compor, surgiu uma escrita sem revolta, com humor. Começou a trilhar um caminho diferente e incluiu o crioulo de Cabo Verde nas letras. “Sinto algo do crioulo no português de Minas Gerais.” Isso sem falar nos ritmos que, em “Mundu Nôbu”, seu álbum recém-lançado, aparecem com uma roupagem sob medida para as pistas de dança, revestidos de uma estética urbana. D’Santiago já apareceu vestido com uma camisa que diz “funaná é o novo funk” —além dele aparecem o batuku e a kizomba, este de Angola, entre outros ritmos. “O funaná se acelerou igual ao funk brasileiro. No começo era em 90 BPM, agora está em 160 BPM. Fazemos só com grogue, nossa aguardente”, ri. Uma das músicas de maior sucesso do disco é “Como Seria”, com o refrão que mistura português, crioulo e inglês —“dou-te muito mais de mim/ des manera k’um ta xinti/ like Beyoncé and Jay-Z”. O segundo verso quer dizer “da forma como eu sinto”. Quando saiu do palco para cantar “Nôs Funaná” no meio de uma pequena multidão que assistia a ele no Caminhão da EDP, na programação paralela da última Flip, o público pulava como se já fosse íntimo daquela música. Chegou a entoar o refrão de “Deixo a Vida Me Levar”, de Zeca Pagodinho. As músicas são dançantes, mas também políticas. D’Santiago criou “Raboita Sta. Catarina” numa visita a Cabo Verde durante as festas em homenagem à santa. Ao mesmo tempo em que celebravam, o vulcão da ilha do Fogo cuspia lava —o músico imaginou Catarina em fúria, porque o povo rebolava enquanto a política aproveitava para lhe empurrar leis goela abaixo. “Nôs Crença” canta contra a escravidão mental. Foi imaginada durante uma viagem de duas horas entre Viana e Luanda, em Angola. “Tem os resquícios da guerra. Encontras pessoas mortas no chão e ninguém toca nelas, porque tem medo de ser considerado culpado. Senti muita submissão.” Ele demonstra uma sensibilidade lírica formada no hip-hop. “É um movimento a se espalhar. São os novos revolucionários. Enquanto a indústria não aceitar esse fenômeno, vou ter que concordar com o Criolo quando ele diz que é um gigante que ninguém quer ver, mas quando amanhece o jardim está amassado.” O MUSO DA RAINHA A origem Claudino de Jesus Borges Pereira, o Dino D’Santiago, tem 36 anos e nasceu na Quarteira, na região do Algarve, em Portugal Os primórdios Começou a cantar a convite de amigos rappers. Em 2004, se apresentava com a banda Expensive Soul. Depois, fez parte da Nu Soul Family A obra Seu primeiro disco solo foi ‘Eu e os Meus’, de 2008. Em 2013, lançou ‘Eva’,com influência da música de Cabo Verde. No fim do ano passado, veio ‘Mundo Nôbu’ A diva Após conhecer Madonna em Lisboa, se tornou uma espécie de guia musical da cantora na capital portuguesa https://www1.folha.uol.com.br/ilustrada/2019/07/quem-e-dino-dsantiago-o-novo-queridinho-de-madonna-em-lisboa.shtml
  2. Very good new article about the album from Paper Magazine. Check it out. The author totally gets M and Madame X. http://www.papermag.com/madonna-madame-x-2638904579.html Madonna's 'Madame X' Creates New Possibilities For the Future Judging from Madonna's promotional tour for her 14th studio album Madame X, out now, the pop star doesn't seem to be enjoying interviews this era. Another way of considering how Madonna is perceiving press reception for her new album — and albums before — is in how there is nary a critical examination that avoids the subject of her age. In fact, she compared her New York Times profile, whose literal headline is "Madonna at Sixty," to an experience like "being raped." Whatever the public's perception, expectation, or even condemnation of Madonna might be, no one can put a number to the one thing that feels truest: she is unapologetically herself. With that in mind, Madonna could also be having a great time doing what she's built a legacy on during the Madame X press run: subverting and transcending all expectations of her, especially those of the media. Her authenticity in being exactly and only Who She Is has, from the beginning, distinguished Madonna's career, and that is evident throughout Madame X. In doing so, she has also stood for the betterment of society, even if that means visible resistance. Consider this 1991 interview with Madonna on Good Morning America, during which she advocates for her right to express herself how she pleases, while also combating homophobia. Regarding critics of her then-controversial Truth of Dare documentary chronicling her Blond Ambition Tour, Madonna says, "Well that's their problem. I'm presenting life." When asked if she was on a one-woman crusade to change the world and its attitudes about sexuality and self-expression, she confidently responds: "Yes." This crusade has arguably guided the entire course of Madonna's career, leading up to and including Madame X. What also feels true within that consideration is Madonna's generosity and willingness to share herself in the present— her interests, both sonically and thematically, her fears, her dreams. Madonna's music and visuals have always been interpreted as "good" or "bad" based on what's relevant in the moment, but by leaning into the now, she creates a new possibility for the future. In 2005, Madonna's Confessions on a Dance Floor leaned into dance music trends, but refreshed it with throwback genre hallmarks and by putting a magnifying glass on her then-experiences of life, fame, love, and spirituality. 2003's American Life, widely considered a political protest album, arrived at the height of George W. Bush-era patriotism. 1998's Ray of Light expanded on popular electronica trends of the moment, but spoke lyrically to her experiences as a then-new mother. 2012's MDNA, which spanned multiple styles with the dance-pop genre, covered the messiness associated with loss and fractured relationships to self and others. It also possessed a language of forgiveness. Related | Maluma Fandemonium Is Just Getting Started There are endless examples of Madonna's ability to be present throughout her life and career should one wish to find them. This presence shows up again on Madame X, an album rooted in collaboration, while embracing the languages (English, Spanish, and Portuguese) and culture of where she lives and is building her life (Lisbon, Portugal) now. The collaborations are with a couple of this generation's most zeitgeist-defining Latin reggaeton and pop artists, Maluma (who guests on "Medellín," and "Bitch I'm Loca") and Anitta ("Faz Gostoso"). The same is true for hip-hop artists Swae Lee ("Crave") and previous collaborator,Migos' Quavo ("Future"). Accordingly, the songs reference the genres she is currently inspired by, and experimenting with. One review in particular sums them up nicely: "Portuguese fado, baile funk, Cape Verdean batuque, and American trap [music]," Pitchfork's Rich Juzwiak writes. The videos for Madame X singles "Medellín" and "Dark Ballet" have thus far promoted ideas of celebration and freedom from bondage, respectively. Collaboration is at the heart of unity — a message also present throughout Madame X, even as it tackles ongoing political divisions, from discrimination and war to systemic oppression and gun violence. Madonna simultaneously shares discoveries about her and others' humanity while parsing these themes out. "They say be all I can be/ And all I want is peace," she sings on Madame X's "Come Alive." "I wasn't lost/ I've got the right/ To choose my own life like a full circle," goes the thesis of "Extreme Occident." "I found a new view," she shares on "I Don't Search I Find," appearing wide-eyed and awestruck. "I found you," she sings while affirming the beauty in others between the lines: "Platinum gold, inside your soul/ Finally, enough love /It's coming." And finally, an invitation to all who can receive it, on "Future:" She sings, "Come here woke and hear the broken/ Come give hope, come give life/ Only get one, so we gotta live it right/ Come make peace/ Come with faith and inspiration/ Come complete you." In both Madonna's musical and visual depictions of the "who" behind Madame X, Madonna describes the character as one of many things: a nun, a cha-cha instructor, a freedom fighter, and more. She posits that these facets live within her and that they live within all. The idea of someone self-identifying as "X" could be thought of as a person with no fear or limitations, free to express what they want, when they want, how they want. Free to change the world. Because they say so. A timeless "one-woman crusade." Who else is genuinely singing about subjects like this — real-world stuff actually impacting humanity, right now — in the mainstream pop landscape? Considering the world's seemingly constant state of upheaval, violence, and destruction, if one had to expect anything from today's most popular artists, it's possibly that more of them would be promoting the kind of transformation Madonna seems to be advocating for on Madame X. Perhaps then, the world would be one step closer to achieving, "finally, enough love."
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