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%($2$#1& THE BLACK ADMIRAL (O MESTRE-SALA DOS MARES): RACIAL ISSUES IN POPULAR MUSIC DURING BRAZILIAN DICTATORSHIP Introduction Brazilian military dictatorship ruled the country from 1964 to 1985. During this period, popular music composers were targeted by the Censorship Department, and mandatorily, every song had its lyrics reviewed. Many times the composers should modify titles, sentences, expressions and words that were classified as critiques, protest against the authoritarian regime. In order to communicate their critiques, and at the same time trying to escape from the censorship, many artists mixed elements of samba in their songs, since that music genre was widely accepted and perceived as lacking political features; although that is not completely true for the whole history of samba (2000). The joyful rhythms of samba along with lyrics embedded with dubious meanings, irony and allegoric mentions of a society living under repression, constituted a very effective strategy to resist and fight against dictatorship. Originally created by blacks during the slavery period, samba, first was categorized by the Brazilian white elite as a sound aberration produced by an inferior, uncivilized part of the population (2005). In the 1960s, Samba, was already a music genre officially promoted as the original cultural expression of a race mixed country. Due to its established sociocultural status, samba was a useful musical weapon to speak out and disguise denounces against the violent repression installed in Brazil.

Electronic copy available at: http://ssrn.com/abstract=2017216

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& The present paper analyzes the motivations of the Censorship Department in censoring a song composed in 1974, initially entitled O Almirante Negro1, later altered to O Mestre-Sala dos Mares2. The lyrics contain a strong poetic narrative of an episode characterized by racism, authoritarianism and violence, occurred in Brazilian Navy in 1910, known as Revolta da Chibata3. Both the title and the lyrics pay tribute to the leader of the revolt: the black mariner Joo Cndido Felisberto; who led the crew of two battleships and six vessels in fighting against racism, physical punishment and humiliation against blacks serving in Brazilian Navy in the beginning of the twentieth century. I will use the method of lyrical analysis based on Perry (2004), to identify strategies used by the composer to communicate the episode of the revolt and the role of its leader, as inspiration for the Brazilians oppressed by the dictatorship since the coup dtat in 1964. Perry (2004) discuss some specifics categories in hip-hop lyric style and messaging like exhortation / proclamation, battle, realism, illustrating with pieces of lyrics, mentions to particular artists status in hip-hop US scene, and she offers interesting and insightful exploration of the possible meanings in the lyrics. While analyzing the lyrics, I will shed lights on the implicit reasons, also exploring meanings, making interpretations to explain an aversive and racist reaction of the Censorship Department, while censoring this song. The Revolt of the Whip and the Black Admiral, Joo Cndido Felisberto The Revolt of the Whip was a rebellion led by black mariners in Brazilian Navy in 1910 with the objective to put an end in physical punishments on them. Accordingly to Morel &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
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L&Revolt of the Whip&

Electronic copy available at: http://ssrn.com/abstract=2017216

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& (1963), physical punishments were abolished in Brazilian Navy one day after the Proclamation of the Republic (1889) and were restored one year after (1890) based on a decree never officially published by the Ministry of Armed Force; nevertheless, the Navy reestablished physical punishments in the following terms: "For slight faults, imprisonment in solitary confinement for one to five days, on bread and water; repeated slight faults, ditto, for six days, at least; grave misconduct, twentyfive lashes, at least" (Nascimento, 2008, Pg. 163) The reestablishment of such violent measures brought back practices from the slavery period that had been recently abolished in 1888. High hierarchy officials (most of them whites) could apply physical punishments in case of faults committed by mariners, which at that period in Brazilian Navy were mostly blacks from low-class status. The revolt happened from November 22nd to 27th in Rio de Janeiro, at that time the federal capital of Brazil. The outbreak of the revolt was the punishment applied to the black mariner Marcelino Rodriguez Menezes, in the battleship Minas Gerais (Morel, 1963). For wounding another mariner with a razor Marcelino was punished with two hundred and fifty lashes. As if the physical punishment of twenty-five lashes regulatory minimum would not been already absurd, the officials applied two hundred and fifty lashes in Marcelino, with the presence of the whole crew, accompanied by the sound of drums. These rituals of punishments in the battleships also were a form for instilling obedience in the crew through fear. The severity of Marcelinos punishment was considered unacceptable and provoked a strong indignation in the crew of two other battleships.

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& One week after this episode, at Baa da Guanabara in the city Rio de Janeiro, in the night of November 22nd, the mariners of the Minas Gerais battleship started a mutiny, killing four officers (including the commander Batista das Neves) that resisted to pass the control of the ship to them (Granato, 2000). The revolt had started and the leader, Joo Cndido Felisberto, released an ultimatum in which threatened to open fire on the city of Rio de Janeiro, then the Federal Capital of Brazil: "The government must stop with physical punishment in Brazilian Navy. We also require quality improvement of the food served to us, mariners Finally, the government must give amnesty to all of us participating in this mutiny. Otherwise, we will bombard the city, within 12 hours" (Morel, 1963, Pg. 54-55) Four days later, on November 26th, the government of the president marshal Hermes da Fonseca declared to accept the demands of the mutineers, abolishing physical punishment and to grant amnesty. The mutineers of two battleships and of the six vessels, then, dropped off their weapons and surrendered. However, two days later, on the 28th, a new decree was published, discharging about 200 mariners from the Navy, under the charge of "insubordination and indiscipline". The Black Admiral, as the press called him later, was admitted to a mental institution in April 1911, as crazy and homeless. He and ten colleagues would only be judged and acquitted of the charges two years later, on December 1, 1912. He died in 1969, poor, with no job and any kind of retirement or income, since the Navy classified Joo Cndido as traitor. Joo Cndido Felisberto: The Black Admirals Ghost

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& In 1958, the journalist Edmar Morel (1912-1989) published a book entitled Revolta da Chibata4. Since 1910 the episode was being reported by the Brazilian Navy as simply an episode of indiscipline and disrespect to official hierarchy (Martins, 1988, Pgs. 128129). Morels book brought to the public a divergent version for the first time, revealing controversial aspects of the revolt. Morel (1963) describes Joo Cndido as a hero that fought for freedom and human rights guarantee; a black mariner commanded by white officers, but not ignorant and undisciplined, as the Navy portrayed him officially. Although illiterate, during trips to developed countries at the time, like England (1908) and Russia (1907), he was able to capture precisely how he and his colleagues were submitted to a regime of brutality. Mariners in England and Russia were respected, did have freedom of expression and rights guaranteed in the disciplinary code. The Navy in those countries no longer adopted physical punishment, considered degrading. Inspired by the reading of Morels Revolta da Chibata, in 1974 Aldir Blanc wrote the song O Almirante Negro to honor Joo Cndido. At that year the Censorship Department still monitored all record labels a few companies dominated music industry, so the task was not so hard (Arajo, 2002). If any song lyrics would be considered offensive to the authoritarian regime, potentially disturbing for the national order, artists, musicians and composers, sometimes accompanied by lawyers hired by the record labels, would have to present themselves personally to be interrogated. For instance, words like red, blood in lyrics could raise suspicion about a reference to Communism and arbitrarily a song would be censored. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& M&The Revolt of the Whip&

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& Aldir Blanc had several songs censored during the dictatorship, but O Almirante Negro came to be a peculiar situation, since the Censorship Department continued to censor the music, even after several modifications were made. In an interview from 2007 he narrates the last and scared (sic) visit to the Censorship Department as it follows: My last trip to the Censorship Departmenttouched me deeply. One guy, playing the tough... hands on his waist I was sat down in a chair and he stood very close to me... the gun in the holster was about three inches from my nose. Then another guy, playing the nice one, roughly said: - You do not understand, then ... you keep changing words like revolt, blood, etc. there is nothing going wrong with such terms... I asked, politely, if he could clarify the situation for me I heard, terrified to the answer, in a lower voice, throaty, full of mystery, as if someone warns you about danger: - The problem is that black thing, black, black... (Blanc, 2007)5 Unintentionally, sixty-four years later, Blanc reopened a case of institutional racism never openly discussed in Brazil. Now I will proceed to discuss the alterations made in the song. In doing so, we will be able to identify what exactly upset the militaries and the strategies used by the composer to modify the lyrics, while trying to not remove the initial message of honoring The Black Admiral. The lyrics in its original and modified form after Censorship Department:
O Almirante Negro (original lyrics) (lyrics O Mestre-Sala dos Mares altered and authorized for

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1) H muito tempo nas guas da Guanabara 2) O drago do mar reapareceu 3) Na figura de um bravo marinheiro (sailor) 4) A quem a histria no esqueceu 5) Conhecido como o almirante negro (black admirer) 6) Tinha a dignidade (dignity) de um mestre-sala 7) E ao navegar pelo mar com seu bloco de fragatas (with his parade of ships) 8) Foi saudado no porto pelas mocinhas francesas 9) Jovens polacas e por batalhes de mulatas 10) Rubras cascatas jorravam das costas (red waterfalls gushed out from) 11) dos negros pelas pontas das chibatas (the back of the blacks, beaten by the whips) 12) Inundando o corao de toda tripulao (filling out the hearts of all the crew) 13) Que a exemplo do marinheiro (sailor) gritava ento 14) Glria aos piratas, s mulatas, s sereias 15) Glria farofa, cachaa, s baleias 16) Glria a todas as lutas inglrias 17) Que atravs da nossa histria 18) No esquecemos jamais 19) Salve o almirante (admiral) negro 13) Que a exemplo do feiticeiro (wizard) gritava ento 14) Glria aos piratas, s mulatas, s sereias 15) Glria farofa, cachaa, s baleias 16) Glria a todas as lutas inglrias 17) Que atravs da nossa histria publishing) 1) H muito tempo nas guas da Guanabara 2) O drago do mar reapareceu 3) Na figura de (wizard) um bravo feiticeiro

4) A quem a histria no esqueceu 5) Conhecido como o navegante negro (black navigator) 6) Tinha a dignidade de um mestre-sala 7) E ao acenar (to wave) pelo mar na alegria das regatas (enjoying the parade) 8) Foi saudado no porto pelas mocinhas francesas 9) Jovens polacas e por batalhes de mulatas 10) Rubras cascatas jorravam das costas (red waterfalls gushed out from) 11) dos santos entre cantos e chibatas (the back of saints between chants and whips) 12) Inundando o corao do pessoal do poro (filling out the hearts of all people in the ships basement)

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20) Que tem por monumento 21) As pedras pisadas do cais 22) Mas faz muito tempo 18) No esquecemos jamais 19) Salve o navegante (navigator) negro 20) Que tem por monumento 21) As pedras pisadas do cais 22) Mas faz muito tempo

The modification in the title, as we can see below, is Mestre-Sala dos Mares, instead of O Almirante Negro. Mestre-Sala is a main / masculine figure that goes in front of the Carnaval parades organized by a particular Escola de Samba6. The Mestre-Sala has his feminine partner that is called Porta-Bandeira, and both must demonstrate high abilities in dancing, as their performance may add or take off points from the bloc partys score. Changing to Mestre-Sala and adding dos Mares7, Blanc kept the association with blackness through the use of a Carnaval parade main figure, although he had to substitute the military title admirer for an allegory associated with the sea. It is possible to see his effort to communicate the particular importance of Joo Cndido, but not directly related to the military hierarchy. In What The Music Said, Michael Anthony Neal (1991) explains that in the United States, during the mid-60 and 70s, soul and funk lyrics constituted a particular way through which the artists translated critical aspects of black public sphere to the audience. Moreover, it was an effective way to sustain the fight for true democracy and racial equality.

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!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& Neal (1991) emphasizes that music carries aesthetical aspects that may be embedded with political critiques. For instance, Marvin Gayes 1981 Whats Going On raised questions of national concern for the whole US society and at the same time informed how African-Americans in the 80s still had to face a context of oppression in US society. It is important to highlight that this album was a blockbuster and still is Marvins most acclaimed albums if not the most proving that his message probably was very accurate to a global context. Although Blanc was not intentionally addressing racial issues in his song, the adverse reaction of the Censorship Department indicates that the song was perceived as potentially causing disturbance in the Brazilian pseudo-racial democracy. An aspect that reinforces this hypothesis is the fact that the department was expecting Blanc to realize through implicit clues (e.g.: initially asking him to change others words, instead of the ones related to blacks) that to make apology to blacks in Brazil would not be accepted. Considering the space and time allowed for the present paper, and with the purpose of try to make an accurate analysis, I will restrict the lyrical analysis discussing the modified verses more relevant in terms of the interplay between politics and racial issues.

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O Almirante Negro (original title, lyrics) 3)Na gura de um bravo marinheiro (sailor)! ! 5) Conhecido como o almirante negro (black admirer)! ! 7) Tinha a dignidade (dignity) de um mestre-sala [popular culture recognized as high art form]! ! 11) Rubras cascatas jorravam das costas (red waterfalls gushed out from) dos negros pelas pontas das chibatas ( the back of the blacks, beaten by the whips)

O Mestre-Sala dos Mares (altered title, lyrics) 3) Na figura de um bravo feiticeiro (wizard) 5) Conhecido como o navegante negro (black navigator) 7)Tinha a dignidade (dignity) de um mestre-sala 11) Rubras cascatas jorravam das costas (red waterfalls gushed out from) dos santos entre cantos e chibatas (the back of saints between chants and whips)

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Verse 3 Before: Na figura de um bravo marinheiro [in the figure of a brave mariner] After: Na figura de um bravo feiticeiro [in the figure of a brave wizard] Verse 5 Before: Conhecido como o almirante negro (black admirer) [know as the black admiral] After: Conhecido como o navegante negro (black navigator) [know as the black navigator] In verse 3 having the word mariner substituted for wizard and in verse 5, admiral for navigator, the purpose of the censorship was, again, to suppress any meaning of association of Joo Cndido with a military hierarchy. Wizard also may be interpreted as giving a status of an evil person, not reliable to be portrayed as national hero. Additionally, considering the historical and unfortunately ongoing prejudice in Brazil against afro-religion practices, wizard suggests blacks are inclined to use things like black magic and deviated behaviors. Verse 7 Before and After: Tinha a dignidade de um mestre-sala [Had the dignity of a mestre-sala] This verse was not altered. The expression mestre-sala was not the initial title of the song, so, when using the above expression that is a main figure of the Carnaval parades - related to the word dignity, we may observe the composer promoting samba popular culture and recognizing it as a real art form. If we consider that the title was altered in

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& order to erase the relationship between a black man and the military hierarchy, dignity is also a word that may be viewed as keeping the respectability of a black man for whom the admiral was not allowed. Ultimately, if in verse 3 his humanity was put in doubt and reduced to a wizard, the word dignity reestablishes him among the humankind and reassures the has dignity. Like Morel (1963), Blanc wants to inform the audience tat Joo Cndido really deserves respect of the whole Brazilian nation for what he did in the past. Verse 11 Before: Rubras cascatas jorravam das costas dos negros pelas pontas das chibatas [red waterfalls gushed out from the back of the blacks, beaten by the whips] After: Rubras cascatas jorravam das costas dos santos entre cantos e chibatas [red waterfalls gushed out from the back of the saints between chants and whips] In verse 11, red waterfalls refers specifically to the intensity of the violence when the officials beaten the mariners with the whip. It is a metaphor to describe the blood running from the back of the mariners. When charged with physical punishment, a mariner had his hands tied to one of the ships mast; naked upper-body and the lashes were applied in the back. Joo Cndido personally described such horrible scene during an interview in 1968 for the Museum of the Image and Sound, in Rio de Janeiro. Apparently such metaphor did not bother the Censorship Department. Since what changes in the modified version is in the second part red waterfalls gushed out from the back of the saints between chants and whips probably Blanc found out saints as a word that would open a comparison between blacks and the saints of the roman catholic church. In other words, the suffering of the black mariners could be associated

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& to the suffering of Jesus Christ before the crucifixion, making possible to the public to develop sympathy by the rebels of the revolt through compassion. My point of view about verse 11 shares some similarity with the historian Brazilian Arias Neto (2001), when states the following: is the appeal to the sensibility of the listener / reader to understand that this suffering and humiliation suffered by the mariners, and in this sense, the revolt would completely justified, since they are neither like Christ and nor have a divine mission to fulfill. If Christ endured the tortures he was subjected to, is because it was part of his mission of salvation of mankind. On the other hand, for the sailors there was no sense to face such humiliation, then the revolt of those men against the acts of brutality by the officers is comprehensible and justified. Although I agree with Arias Neto (2001) until to a certain point of this association with Jesus Christ, I find a bit problematic going further in this direction and prefer to limit my observation to a strategy used by the composer, which could not mention because censored explicitly a suffering experienced by the black mariners. The problem I see in investing in a comparison to Jesus Christ is exactly the risk to loose the political elements that exists in the lyric to interpret the historical episode as both denounce and fight against racism and violence related to it; especially because in Brazil, historically, the Catholic Church contributed to demonize afro-Brazilian religious practices.

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Final Considerations: In 2002 the Brazilian senator Marina da Silva8 wrote a petition to the federal government asking amnesty and reparation especially the amount of money retroactive to 1910 to the families of all mariners that participate of the revolt (2008 - UOL). The petition was not accepted. In 2003, president Luis Incio Lula da Silva granted amnesty to Joo Cndido and his followers and officially declared him a national hero in fighting for democracy in Brazil. For black Brazilians living today, the celebration of Joo Cndidos figure is an annual ritual every November. In 1974, Blanc composed the song to celebrate the Black Admiral, using the power of the music to instill stimulus and inspiration in Brazilians fighting against dictatorship. For the black movements, the song was always interpreted as denounce of the living conditions of Brazilian black population in general in Brazil, since abolition of slavery until the present day

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S&:&1*4,2%+&=+%<&.C&T;,+2?&%=&O%+E*+1U&E4%O4&=%+&/*+&;%($2$#,(&,43&1%#$,(&,#2$)$1<&2%&;+%<%2*&/"<,4&+$H/21&$4& D+,I$(7&

!"#$%&'($)*$+,-&./0&12"3*42&5&("#$%%($)*$+,6"#(,7*3"&& 89!:&0*;,+2<*42&%=&.%($2$#,(&>#$*4#*& 9*42*+&=%+&2/*&>2"3?&%=&@,#*-&A2/4$#$2?&,43&.%($2$#1& Bibliography: ARIAS NETO, ARAJO, Paulo. Eu no sou cachorro, no: msica popular cafona e ditadura militar. Rio de Janeiro: Editora Record, 2002. BLANC, Aldir. Interview for www.censuramusical.com accessed on November 18, 2011: http://www.censuramusical.com/includes/entrevistas/ALDIR_BLANC.pdf CAMPOS, Andrelino. Do quilombo favela: a produo do "espao criminalizado" no Rio de Janeiro. Editora Record: Rio de Janeiro, 2005 GRANATO, Fernando. O Negro da chibata (2nd edition). Rio de Janeiro: Objetiva, 2000. MARTINS, Hlio. A revolta dos marinheiros, 1910. Servio de Documentao Geral da Marinha; Rio de Janeiro, Cia. Editora Nacional: So Paulo, 1988 MOREL, Edmar. A revolta da Chibata (2nd edition, revised and expanded by the author). Editora Letras e Artes: Rio de Janeiro, 1963. NASCIMENTO, lvaro. Cidadania, cor e disciplina na revolta dos marinheiros de 1910 Rio de Janeiro: Mauad X : FAPERJ, 2008. NEAL, Michael A. What the music said. What the music said: Black popular music and Black public culture. NewYork: Routledge, 1999. PERRY, Imani. Prophets of the hood: politics and poetics in hip-hop. Durham, N.C.: Duke University Press, 2004. SOUZA, Jess. A modernizao seletiva: uma reinterpretao do dilema brasileiro. Braslia: Editora UnB, 2000.