#writing makes my soul feel good and writing morai is the best of that

[goldenkid]

plans would be:

-reread it all, obviously. the important stuff first: what i’ve written of draft 2 (85k words and about 1/3 of the way through. this story is a behemoth. or is it just bloated? there is definitely streamlining to be done), and the outline, and my most recent brainstorm. and then i’ll take my thoughts from that, and move on to other stuff: my older brainstorm document, the one that’s a spreadsheet, and all my first plans for draft 2, and the bits and thoughts in notepad. and also the ideas for a prequel, showing how scar and thalia meet and get together, because somehow that could be (should be, because their backstory was always in pieces in the actual book) incorporated into the text. morai is not something that should be multiple books: it’s one standalone story, i think, and though there are a lot of other stories that could be told in this world (think of a president snow-esque prequel, as well as scar and thalia’s prequel, and the story of the war that sets up the events of the book), they are ultimately backstory for how the three main characters change their world irrevocably ((((oh my GOD i should write a twilight au for morai. but not today)))

-i also want to reread the original document, which has the seed of the idea for morai. it’s changed so much since then, but it has the basis of the story i want to tell, which is still at the core of morai.

-once i’ve reread it all, and probably written down my thoughts about it in a document with references to the original documents so i don’t get confused (this will take a while: see 85k words of draft 2, plus nearly 4 years of assorted thoughts and outlines and brainstorms), then i should have a rough plan of what i want to include from the million outlines and things, with the most recent having the most importance but all of them having good ideas that i could have forgotten along the way.

-i’ll note down what the new plot will be. probably quite similar to the outline from last september, which contains the huge plot restructure i planned. but also differences to character traits, cutting out useless plot threads, streamlining characters and character arcs, bringing these people closer to who they are in my head, and bringing this story closer to the one i want to tell. i need to find the important parts of the story (what happens to scar. what happens to scar and thalia and their story. ari and maia. scar’s plan, thalia’s plan, ari with the rebellion, and silver: a story of rebellions clashing. the story of the mission. of being inside the city and how it shatters the three of them. almost a negative character arc for scar and thalia, except with hope at the end because i’d let them crash and burn but ultimately i will always save them). there is a complex story i want to tell, but in the end it’s not that complex: it’s just five characters who each have their own plans, and how they clash. the story of morai.

-that’s what i need to do: reread everything, starting with the most recent stuff (the recent draft 2 outline, and then the draft) but really going through the whole thing, alllll my morai documents. and putting my thoughts into a master doc with references to where those thoughts came from, so the master doc doesn’t get horribly cluttered and become another thing i need to reread in a month’s time. and from there i’ll have a starting point: knowing i haven’t forgotten any important details, any character arcs or plot points, i’ll start to form an idea of where to go from here. that could mean carrying on with draft 2 as it is, or starting a whole new draft, depending on how much dead weight i find and how much i think i could change (plot points that have been unchanged for so long that i take them for granted - what would happen if i shook them up?).

-and then, from there, only once i’ve combed through everything and drawn my own conclusions, once i have an idea of where to go with this story and the writing of it - then i can start a new outline, or pull all the information i want into a new series of documents for the characters and the plot and the themes. i almost hope the plot will change significantly - i expect it to, really, with the way the characters have changed and how i have changed. i’d like to start a new draft, a slightly more mature version (not content wise, but in a way where the story is more cohesive. closer to the story that is there to be told, that i haven’t been ready or able to tell yet). a fresh start, from the ashes of my old ideas.

-then, maybe, i could write morai again.

[segersgia]

Looking back: Part 3 - Craftworld Aeldari

The Psychic Awakening event was kind of a disappointment. Nothing really major happened within these books and the focus of most of them involved stories about Space Marines. The Xenos factions got it very bad in most of these books, but none as bad as all of the Aeldari.

I feel so sorry for what Aeldari players have to deal with in the hobby. Most of your range is either still in finecast or in metal, and you haven’t had a major model release in about 8 years. The entire Craftworld range definitely needs an update.

I must be honest; I don’t care that much about the Aeldari. I’ve never been particularly interested in elven races, save those that go full ahead with the nature aspect. This is why I prefer the Wood Elves and Exodites, over races like the High Elves or the Lumineth Realmlords. 

So I will put a disclaimer on this post; Aeldari lore is not my strong suit. In fact, I find it sometimes quite confusing. I might make mistakes or misinterpret the lore of these units. I hereby apologize for this. 

Let’s begin...

Spiritseer:

Aeldari Spiritseers are Warlocks specialized in the preservation and care of Aeldari souls. They are the ones that guide Aeldari spirits inside of Wraith Constructs. In some way, you could call them a form of necromancer.

They walk the “Path of the Seer”; one of the most dangerous Paths for the Aeldari to walk. On this path, they develop their psychic abilities and learn how to control them. They’ve also (if I’m correct about this at least) previously walked the “Path of the Warrior”, which gave them the necessary experience to control their impulses and emotions.  

This Spiritseer got released alongside the Wake the Dead box-set, which pitted the Spiritseer Qelnaris and the forces of Saim-Hann, against the Ultramarines. I can’t find what the conclusion of this battle was, but guessing from the way that the Eldar have been treated this edition, I would say they probably got stomped by the Ultramarines.

Normally, this Spiritseer is not something specifically to write home about, as he looks as you would expect a Spiritseer to look like. However, looking back upon their older model, I can see that this new version is quite an improvement. The pose is way better and the proportions seem to have been fixed in this version. 

My favourite thing about this model is the mask. I love when Eldar in any form look otherworldly and alien, and these domed masks work perfectly for that. 

8/10

Howling Banshees:

Howling Banshees are a form of Aspect Warrior; Aeldari who walk the “Path of the Warrior”. As an Aspect Warrior, the Howling Banshees embody a certain aspect of Khaine, the God of Murder. Specifically, the aspect of aggressive close quarters combat.

As the name would imply, their Aspect is inspired by the mythical Banshees, who, with their wails and cries, heralded doom and death.  

They go into battle carrying Shuriken Pistols and Power Weapons (mostly swords), and they certainly know how to use them. Howling Banshees are freakishly fast and precise, but what makes them unique is their Sonic weaponry. The mask they wear is called a Banshee Mask, and it amplifies their war-cries into some sort of psychic screech. Those that hear this become disoriented and paralyzed because their nervous system can’t handle this amount of psychic energy. 

The Howling Banshees are what I think of first when someone mentions Eldar. It would only be fair that they became the first Aspect to be updated. From what I see, it doesn’t disappoint so far. They remain faithful to the source material and the poses are overall better compared to their predecessors. They also have a more decent proportioned waste now. 

The inclusion I most of all like is the separate Aspect Relic, and I believe it is an effigy depicting Morai-Heg, The Crone Godess. The website encourages you for using it as an objective marker. I love it when the designers give us these little extra’s that can be used as set pieces. I hope every new Aspect Warrior gets a symbol like this in the future. 

9/10

Howling Banshee Exarch:

Exarchs are Aspect Warriors who specifically have become lost and trapped within the “Path of the Warrior” and become the High Priests/Guardians over their specified Aspect Shrine. Think of them as teachers who train their squad in the way of their Aspect.

Their armour is more ornate than the rest of their squad and they’ve forgone their Shuriken Pistol in favour of going fully melee focused. They then can carry either two Mirror-Swords, an Executioner Power-Glaive or, they can mimic their Phoenix Lord and carry a Triskele (the three pointed boomerang-thingie). Their overall skill- and power-level is way above that of anyone, probably capable of dueling the best warriors that the Imperium could throw at them (if GW wouldn’t be so biased in their campaign books).

The Exarch kit contains a seperate head that doesn’t wear the mask. This apparently is an Ynnari Exarch, who walks a way different path than that of the Craftworld Eldar. I can’t find much information about this, but it is at least interesting that the Ynnari don’t need to wear their War-masks.

I’ve seen discussions and complaints about the way that the maskless face looks and let’s just say a few things.

Men can become Howling Banshees, though will still wear the same type of Aspect Armour (which includes the breast plate).

Women don’t need to look feminine when they are actively at war, and it doesn’t make them any less feminine.

If the Mechanicus can have non-binary members, then the Aeldari most certainly can have them as well. 

These are technically part of the Howling Banshee kit, so the same points can be applied to these two. I do think that the Glaive looks way better on this model than the Mirror-swords. The Exarch looks a little “out-of-balance” when dual wielding. I did wish though that they got some more weapon options. The Triskele isn’t in the kit, and I also saw a concept piece for an Eldar Power-Axe, which the Aeldari just deserve to have in their arsenal. Give Howling Banshees Power Axes. That would look so cool.

8/10

Jain Zar:

Phoenix Lords are by far some of the most ancient and powerful members of the Aeldari race. They were former Exarchs who have fought for so long, that they don’t have an Aspect Shrine or Craftworld left to protect. Instead, they wander from Craftworld to Craftworld and arrive to fight alongside their kin when the need arises the most. 

Whenever a Phoenix lord falls in battle, their soul is transported inside of the spirit stone of the suit. Then, another Eldar warrior will don the suit and become possessed by the original Phoenix lord. Most Phoenix lord armour contains the souls of dozens of Eldar, all who’ve sacrificed their lives in order to resurrect their respective Phoenix Lord.

Jain Zar is of course the Phoenix Lord of the Howling Banshees. In fact, she is the founder of her Aspect and according to legend, became the first Exarch. This makes her the second Phoenix Lord to come into existence, with the first being Asurmen. She is considered one of the most active Phoenix Lords to roam the galaxy and has an active hatred for Chaos. After the rise of the Ynnari, she became one of the biggest advocates of their cause.

Jain Zar carries the Jainas Mor and Zhai Morenn. The Jainas Mor is the Three bladed Triskele, which is “Sharper than any mortal blade”. The Zhai Morenn is her Power-Glaive, and it is a relic from before the Fall of the Eldar. Her Banshee Mask was the first of its kind and every Banshee mask that has followed is a copy of hers.

During the Psychic Awakening, Jain Zar protected Yvraine from Drazhar and pursued him. This proved fatal and got her sliced in two.  A new Exarch donned the armour and Jain Zar was reborn. She then got a rematch with Drazhar and became victorious. Eventually the infamous battle of Iathglas happened, where she, together with Yvraine and the Visarch barely managed to defeat a HOLOGRAM?!? of Shalaxi Hellbane. (goddamnit Geedubs).

Jain Zar’s new model is such an improvement over her older one that I am excited to see what any of the other Phoenix Lords might look like in the future. I love her proportions, her pose, her appearance... everything is so good. I’m not even bothered by the hair and I don’t care that it is too long or impractical in combat. 

One thing I would’ve preferred though is that they would’ve kept her original paint scheme. I prefer the black/red paint scheme over the white/red one. I get why they changed it, because it fits better with the scheme of her Aspect.

10/10

--------

While the Craftworlds didn’t get much this edition, what they did get has been very good. I’m excited for what may come in the future for the Aeldari.

Games Workshop. Could you just make more Eldar models? People have been begging you to update them for over a decade now. Listen to them. Most of the Aeldari range is still finecast or metal. 

Next up: Primaris Vanguard Infantry

previous posts: Primaris Mainline Infantry, Death Guard Infantry

[nofomoartworld]

Hyperallergic: A Critical Understanding of Edward Curtis’s Photos of Native American Culture

Plate from The North American Indian by Edward S. Curtis at the Muskegon Museum of Art (all images by the author for Hyperallergic)

MUSKEGON, Mich. — Can one come to a revelation through a visit to an art museum, or is it something that can only be arrived at through a more intensive personal journey? This is the question that emerged for me as I visited the Muskegon Museum of Art for Edward S. Curtis: The North American Indian, a massive installation of the 30-year-plus ethnographic survey of surviving Native American culture by turn-of-the-20th-century, Seattle-based photographer Edward S. Curtis.

Edward Curtis, self-portrait

The North American Indian is a seminal and controversial blend of documentary and staged photography — one which contributes to much of the foundational imagery and, often-stereotypical, understanding possessed by white America about some 82-plus native tribes that the United States eradicated over a century of colonization. Much has been made about the complexities, contradictions, and conflicts of interest in Curtis’s masterwork, by Native and non-Native scholars. Some argue that in staging photographs and, at times, adding props or accessories, Curtis took liberties with the concept of ethnography, both imposing and reinforcing white notions of Native American appearances and culture. Others argue that without Curtis, there would be hardly any extant imagery of the cultural heritage of the tribes he worked with.

The Curtis exhibition at the Muskegon Museum of Art raised, for me, compelling questions around our individual and institutional tendencies to justify the art that we find interesting. It is undeniable that the 723 portfolio images lining the walls of the Musekegon’s galleries — as well as a 20-volume edition gathering 1,500 additional photos and ethnographic research carried out by Curtis in cooperation with tribes west of the Missouri River — represent a remarkable accomplishment. They are fascinating photos, and managed to chronicle what Curtis called, “the lifeways and morays of all the tribes who were still relatively intact from the colonialism and the invasion of Anglo culture.” Beyond ethnography, many of them are also formally beautiful works of art.

Plate from Edward Curtis’s The North American Indian

The Muskegon Museum has personal reason to take pride in this exhibition — the museum is in possession of the collection because of Lulu Miller, the first female director of the adjacent Hackley Library and second director of the Muskegon Art Museum (appointed in 1916, being the second woman in the US to run an art museum). In 1908, as her first acquisition for the library, Miller sourced $3,000 to purchase a subscription to Curtis’s series, which was issued in 20 volumes and would ultimately take 30 years to complete — an incredible gamble when you consider that sum is equivalent to $80,000 today, and certainly a tidy sum for a regional library. The Muskegon Museum of Art owns one of the estimated 225 sets of The North American Indian (many of which are likely incomplete), and this exhibition is one of very few that has put the collection on display in its entirety. The final volume arrived in late 1930, bracketing Miller’s career with the library and museum, and in the 1970s was transferred from the library to the purview of the art museum for conservation efforts.

Hackley Public Library in Muskegon, Michigan

“We think she was pretty gutsy,” said Muskegon Museum of Art’s executive director Judith Haynor, in reference to Miller. “We have a variety of letters from Curtis to Lulu, and from his staff — they had a lively correspondence. There have been 200 or more exhibitions of selections of Curtis’s work, but from what we can ascertain, never before has the entire body of work been put out on display.”

However, the hometown pride in the visionary Lulu Miller — not to mention the more generalized sense of wonder at the beauty and exoticism of Curtis’s imagery — has perhaps skewed the museum’s framing of the appropriateness and relevance of Curtis’s work. The prevailing view here is that the photographs’ issues are a product of their time, and that they are nonetheless of educational value, particularly in our current climate.

Edward S. Curtis: The North American Indian, installation view at the Muskegon Museum of Art

“I think that these images clearly show someone who began to understand more deeply the importance and uniqueness of the American Indian cultures,” said guest curator Ben Mitchell, who worked on the exhibition for some two years. “You can find this in his writing, that he came to understand that white America had something really poignant and important to learn from Native American culture, especially the depth of the spirituality. And I think about the times that we live in right now, in a time of name-calling, when our major political leadership is scapegoating people who are not white. Deportation is up 38% in just the last four months. The point is, I think, that Curtis, through The North American Indian, realized that white America had something to learn.”

Edward S. Curtis: The North American Indian, installation view, including a display featuring a camera of the type Curtis hauled, along with boxes of glass negatives

The museum has gone to great lengths to ensure deft handling of the subject matter, including engagement with the local Little River Band of Ottowa Indians, located in Manistee, Michigan (too far east to have been included in Curtis’s work). Tribal Chief Larry Romanelli served as an advisor to the exhibition, and appeared with other Native American participants in panel discussions and programming that accompanied the exhibition. His view of the exhibition is positive, and echoes a sentiment presented in some of the voluminous wall texts accompanying the imagery: that Curtis captured humanity and heritage that is significant to the descendants of Native American tribes, which would likely have otherwise been lost forever.

“Edward Curtis’s work is not embraced by 100% of people, or all Indian tribes, as well. And they wanted to know if I thought it would be a good idea or not,” said Romanelli in an interview with Hyperallergic. “I’ve been interested in his work for years, and I believe the good absolutely outweighs the negative part. I don’t believe that he ever did anything to intentionally hurt Native Americans. I think he was trying to help Native Americans, and that makes a big difference to me.”

Plate from Edward Curtis’s The North American Indian (detail view)

Romanelli also highlighted a strong sense of connection to the subjects of Curtis’s photographs. “The world would not have known those people [without Curtis’s work], and I believe, in one sense, I can see the souls of my ancestors. I would not have known what they looked like, who they were. So I cherish those photos, from my perspective.”

Perhaps it is powerful enough, all on its own, to enter a conventional museum space and find it entirely dedicated to images of people of color. Western art institutions continue to be overwhelmingly dominated by Eurocentric imagery and artists, and perhaps, by putting these photos on display, they help contribute to a collective understanding of racial injustice.

Plate from Edward Curtis’s The North American Indian

“The time we live in today, where we have the rise of white supremacy, compared with just one year ago — I think pushing forward a takeaway that the majority, dominant, white male culture in America still has a lot to learn from cultures that are not themselves is entirely appropriate,” said Mitchell, in an interview with Hyperallergic. “Some of us may feel that we have already had that takeaway, because of our background and our experience — but remember that in almost any community, the art museum, the anthropology museum will receive far more visitors with very little background in art and anthropology. Our job is to teach.”

Perhaps this is so, and all my personal frustration at the retrograde mentalities that make such remedial learning a necessity does not, at the end of the day, mean they do not exist or need to be addressed. But I have to wonder, if we are dealing with a population whose baseline takeaway from The North American Indian is that “Indians are people, too,” is putting 723 images on display enough to truly move the needle? After all, the United States is still breaking treaties. One cannot doubt Mitchell’s sincere engagement with Curtis’s work, nor the museum’s good faith efforts to present it in an inclusive way — nor even, in following Curtis’s 30-year journey of engagement with tribespeople, can one doubt that the experience profoundly affected his understanding of Native American cultures and humanity. But if presenting such imagery were enough to trigger revelation, could we not put 723 images of Syrian refugees on display somewhere, and watch the understanding come rolling in?

Edward S. Curtis: The North American Indian, installation view at the Muskegon Museum of Art

A more effective contemporary reading of Curtis’s work happens in what I consider to be the very best part of the exhibition: the room juxtaposing Curtis’s images with the work of contemporary Native American artists who’ve reflected upon his impact on their cultural identity. Some, like two paintings by Ojibwe painter Jim Denomie, characterize Curtis as a kind of voyeur or paparazzi figure. Others directly reference his photography in their personal, interpretive works. Inarguably, Curtis’s long relationship with the tribespeople of North America had a significant impact on their communities.

Some of the contemporary works, hung adjacent to Edward Curtis’s photographs which served as source material

According to the narrative presented by the museum, by the end of The North American Indian, Curtis was basically penniless and died in obscurity, as popular interest in his project waned while his own obsession mounted. In his later years, as he became more aware of the struggles of the people he was photographing, his work might be seen as an early attempt at activist or social practice art, before there was any notion of such a thing. These works, also on display, showcase Native Americans living in a more Anglicized context, wearing Depression-era clothing rather than traditional garb, and reflect the ways in which there was, by then, little remaining of the “lifeways and morays” that Curtis found so initially fascinating. The fact that he continued to pursue Native Americans as subjects outside of the exoticized trappings of their traditional culture demonstrates a real transition in Curtis’s work.

Painting by Ojibwe artist Jim Denomie characterizes Edward Curtis as a paparazzi figure

Today, the preponderance of technology has made it possible for people to self-document, and there is less a need to rely on an external, paternalistic, or authoritative record. In this, at least, Curtis’s access to photography tools and training can justifiably be recognized as a product of his time. The question is, then, how can we take this work and do it better in our time — for example, centralizing the creative output and self-representation of Native American peoples, or at least giving it equal ground in the museum setting (rather than only putting it on display in museums dedicated to anthropology or Native American art).

“I’ve come away from this two years of work realizing that history is a very powerful force, because history, when you’re immersed in it, isn’t just looking at the past,” said Mitchell. “History constantly informs the present you’re living in — or it better, if we’re paying attention. But even more than that — and this touches upon why this exhibition is so poignantly timely for the time we live in — history also points us to our future that we’re going to share. We learn from the history how to live in our present, and how to plan to live in our future.”

Edward S. Curtis: The North American Indian continues at the Muskegon Museum of Art (296 W Webster Ave, Muskegon, Mich.) through September 10.

The post A Critical Understanding of Edward Curtis’s Photos of Native American Culture appeared first on Hyperallergic.

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[cryptodictation]

Mourning in the electric trio and ax, with the death of Moraes Moreira

Moraes Moreira: eternal party in the countryside (photo: Marcos Hermes / Divulgao)

“The fight was not in vain / Contrary to the regime / Our plans did indeed work / With the face of a champion / A good team entered the field / Called Novos Baianos …” Someone with deep knowledge could speak, with so much property, of a group that brought an important contribution to MPB's evolutionary line, by merging Brazilian rhythms with rock.

This story was told in a cordel book entitled The History of the New Baianos and Other Verses, by Antnio Carlos Pires de Moraes, Moraes Moreira, born in Ituau, portal of Chapada Diamantina. The Bahian died early yesterday morning (04/13), at the age of 72, at home, in Rio de Janeiro, the victim of a myocardial infarction. Burial information will not be released to the press and the public to avoid agglomerations in the face of the coronavirus pandemic.

“We had talked about Easter. He even commented that he would have cod made. We talked every day and asked how the other was doing. He was always fine, the exams were good and he said: 'The heart is good , the liver is good, I did it '. Of course he had some health problems and we are already a certain age. But we are Novos Baianos, we live intensely, and Moraes lived the music, the party, the joy and the carnival “, says Paulinho Boca de Cantor in a statement about his friend.

Along with Luiz Galvo, Paulinho Boca de Cantor and Baby Consuelo, Moraes formed the central core of Novos Baianos, which emerged in Salvador at the beginning of the 1970s. With Galvo, he composed classic members of the group, as It's over crying, The dancing girl, Beast you, Mystery of the planet and Black Pretinha.

“But what is really important is that we talk about this love that started 50 years ago, when I first met him, in addition to Galvo, and we thought that together I could do something. The music of Novos Baianos is alive and well Moraes Moreira was the great helmsman. That guitar player, that there is nothing like it … All Brazilian artists know about his ability to make a voice and guitar show and make everyone dance “, remembers Paulinho.

Son of Joo

Under the inspiration of Joo Gilberto, of whom Moraes was a devotee, the Novos Baianos launched, in 1972, It's over crying, the debut LP, which, later on, would be considered by the magazine Rolling Stones It is the best album of Brazilian popular music, after a poll made with critics and experts.

Moraes left the group in 1974, shortly after the release of the second album, the equally praised New Baianos Futebol Clube. His solo career began the following year, shortly after becoming the first electric trio singer in Salvador's carnival.

carrier pigeon, who composed in partnership with Osmar Macedo, was the song that leveraged Moraes Moreira's debut album in 1975. Over a 50-year career, he built a work with 45 titles in the discography and something around 500 recorded songs, in addition to two books, The poet has no age (2012) and the aforementioned The History of the New Baianos and Other Verses. As a poet, he occupied chair number 38 of the Brazilian Academy of Literature of Cordel.

Relationship with Braslia

The singer came to Braslia countless times to perform, initially with Novos Baianos and later accompanied by a band or by his son and guitarist Davi Moraes. The last shows he did here were of voice and guitar, when he paid tribute to Joo Gilberto, initially at Centro Cultural Banco do Brasil, for the Transcendência Festival, idealized and coordinated by filmmaker and musician Andr Luis de Oliveira; and then for two days at Clube do Choro, in the first week of December last year.

“When I think of Moraes Moreira I always remember Canta Brasil, music with which he insisted on opening the shows. He was a popular Brazilian artist who will be sorely missed. The compositions of Moraes and Galvo always talking about the interior of our soul “, recalls with affection the Bahian living in Braslia, Reco do Bandolim, producer of Espao Cultural Clube do Choro.

Moraes' last visit to Braslia was exactly in the cultural space located in the Monumental Axis. On that occasion, he celebrated the 50 year old repertoire and sang a choro that he made a few years ago for the concert hall. Reco doesn't quite remember the lyrics, but he remembers that in the end the musician sang “Clube do Choro mil”.

The recordings, at the moment, are stuck in the closed space as a function of the decree in measure the containment of the coronavirus. “He had such a beautiful connection with Clube do Choro. He always wanted to come and play at Clube do Choro, so much so that he composed a choro in our honor. He was an artist very close to our roots. A great Brazilian, a great poet. Far sorely lacking “, defines Reco.

all deceit

Moraes Moreira's relationship with Braslia was a two-way street, both he enjoyed being in the city and inspired local artists. This was the case of the Praga de Baiano group, created almost 13 years ago, with Tiago Cunha, Marcelo Lima, Leandro Morais and, until the beginning of this year, Cris Floresta. The band started taking inspiration from the album It's over crying, until he started to celebrate other Bahians.

Recently, the group created the Universo Baiano project. The first edition was attended by Paulinho Boca de Cantor. The idea was to call Moraes Moreira to participate in a new edition. “We wanted to bring him, but there was no time,” laments Leandro Morais. For the musician, the artist was an example of a figure that united popular music with other aspects, always with potency and joy.

“He was one of the greatest guitarists in Brazil. But people only value those who are soloists. Moraes Moreira managed to unite a rhythm of Recncavo Baiano with the sound of Joo Gilberto. Not to mention the compositions, which will remain forever in the memory of the Brazilian population” , he comments.

The idealized future

Moraes Moreira had some projects in progress. Reco do Bandolim, from Clube do Choro, says that he had revealed, in December last year, during a lunch, the intention of doing a show under the theme of envy, that “good envy”. The idea was to make a selection of songs by great authors, whom Moraes had a deep admiration for. “It would be a show in honor of envy, with songs he had the pleasure of singing, which he would have liked to have done”, he reveals.

The project already had the name: Praise envy, as he post office, in December last year. He would revisit classics from the work of traditional MPB masters, such as Noel Rosa, Braguinha, Ary Barroso, Erivelto Martins and Luiz Gonzaga and the contemporary Chico Buarque, Caetano Veloso, Gilberto Gil and Roberto Carlos.

Earlier this year, Moraes had revealed in an interview with Uol and the newspaper The globe who had a project with 20 indicas music, in addition to a book with poetry and cordis. It also confirmed in February that there was a contract for the recording of another Novos Baianos record and a new turn. In 2017, the group toured Brazil on a 45-year commemorative turn that even went through Braslia, with a show at Ginsio Nilson Nelson for more than 5,000 people.

Days before death, the artist showed that he was quite artistically active. On social networks, he shared that he was taking advantage of the isolation period to write and play. He even released a string called Quarantine, in which he said he feared the pandemic, he took the opportunity to mention other ailments in Brazil and weave criticisms in the potent and popular way that he always showed in musical and literary works.

Repercussion on the web

“Boy from the backlands of Bahia, he listened to the music of the world with delight and made it his expressive universe. He misses it and is a great work”

Gilberto Gil, singer

“My admiration comes from cradle. What talent, how easy it is to compose and write – and that guitar? And the cordis, which led him to Academia Brasileira? And those texts? Huge in feeling, indignation, in love for his country, his culture “

Maria Rita, singer

“He was always our carnival poet. The first to put a voice in an electric trio. Owner of a unique carnival repertoire, already at the beginning of my career he gave me the song Living monument, A masterpiece. And I was able to sing his songs many times in my almost 40 years as an electric trio. Moraes is a great master of Brazilian music in the world, a master for me and for all who love music. The electric trio is in mourning. Ax is in mourning “

Daniela Mercury, singer

“Very sad to hear about Moraes Moreira's departure. I recorded so many of his songs, including Interior party, which was a great popular success and was played throughout Brazil. May he be at peace, be in a beautiful and wonderful place. We lost a wonderful person and a musician, composer, incredible “

Gal Costa, singer

“Sadly sad, without believing, without wanting this to happen! Dear friend, great artist who sealed, sealed a historic level in Brazilian music! To be remembered for so many beautiful songs that have marked our lives! We will miss you! Now, accomplished, rest in peace, friend! “

Elba Ramalho, singer

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