Anthony Oliver Scott (born July 10, 1966) is an American journalist and critic. He is a chief film critic for The New York Times, along with Manohla Dargis.

Background and education[link]

Scott was born to two historians. His mother, Joan Wallach Scott, is the Harold F. Linder Professor at the School of Social Science in the Institute for Advanced Study in Princeton, New Jersey.^[1] His father, Donald Scott, is a professor of American history at The City University of New York (CUNY). He is also a great nephew of the actor Eli Wallach.^[2]

Scott attended public schools in Providence, Rhode Island, including Classical High School. He graduated magna cum laude from Harvard in 1988 with a degree in literature.

He has a son named Ezra and a daughter named Carmen.

Career[link]

Scott began his career at The New York Review of Books, where he served as an assistant to Robert B. Silvers.^[3] He then served as book critic for Newsday, and also as a contributor to The New York Review of Books and Slate magazine.

He joined The New York Times' Arts section in January 2000, following Janet Maslin's retirement from film criticism. (Maslin continues to review genre fiction for the paper.) In 2004, he became a chief critic, following Elvis Mitchell's departure from the Times. He also, along with other film critics of the Times, hosts a video podcast on the subject of film, called Critics' Picks.^[4]

Scott is currently working on a book of literary criticism about the 20th century American novel. He is particularly fond of the work of Mary McCarthy, calling her novel The Group one of the greatest of the 20th century. He contributed a foreword to her collection A Bolt from the Blue and Other Essays.

Television[link]

In 2006 and 2007, Scott served repeatedly as guest critic on Ebert & Roeper with Richard Roeper in Roger Ebert's absence due to illness. He and Roeper counted down their selections for the top ten films of 2006 and again for 2007. Although Scott did not appear on the show for most of 2008, he continued to release his own list through The New York Times. On October 24, 2009, Scott began counting down his "Best of the Decade" list on At the Movies.

On August 5, 2009 it was announced that Scott, along with Chicago Tribune critic Michael Phillips, would take over hosting duties on At the Movies from Ben Lyons and Ben Mankiewicz who would no longer be involved in the show. Scott and Phillips began their duties when the show started its new season on September 5, 2009, but ratings were low and the show aired for only one season.^[5]

Top ten lists[link]

Below are A. O. Scott's top ten lists as published in The New York Times (more than one entry with the same ranking indicates a tie). In addition, there is his "Best of the Decade" list from At the Movies.

References[link]

External links[link]

Biography portal

• A. O. Scott at the Internet Movie Database
• A. O. Scott: New York Times Biography
• A. O. Scott: New York Times articles
• A. O. Scott: New York Times movie reviews

This article's factual accuracy is disputed. Please help to ensure that disputed facts are reliably sourced. See the relevant discussion on the talk page. (June 2009)

Adoniran Barbosa, artistic name of João Rubinato (6 August 1910, Valinhos - 23 November 1982, São Paulo), was a famous Brazilian São Paulo style samba singer and composer.

Adoniran Barbosa.

Biography[link]

Early years[link]

João Rubinato was the seventh child of Emma and Ferdinando Rubinato, Italian immigrants from Cavarzere (province of Venice). His parents had settled in Valinhos, a rural town in the state of São Paulo, about 70 km from the city of São Paulo. In 2010, two bridges were named after Rubinato: one located in Valinhos, Brazil, where the singer was born, and another in Cavarzere, Italy, where his parents came from.^[1]

He is said to have been a rather reluctant student, and started working at an early age (which required falsifying his birth date). His first job was a sweeper boy and general helper at a railway company in the nearby town of Jundiaí. In 1924 he moved to Santo André, a town in the Greater São Paulo area, where he went through many jobs — loom operator, painter, plumber, iron worker, peddler and waiter. At a local technical school (the Liceu de Artes e Ofícios) he learned the office of mechanical assistant.

Debut as composer and singer[link]

In 1933 João Rubinato moved to the city of São Paulo, where he started composing songs and tried his luck as a singer in Cruzeiro do Sul radio station, in a talent-scouting show directed by Jorge Amaral. After many failures, he finally succeeded with the Noel Rosa's samba Filosofia, and got a contract for a weekly 15 minute show.

Fearful that a samba artist with an Italian surname would not be taken seriously by the public, João Rubinato then decided to adopt a more Brazilian-sounding name. So he borrowed the unusual "Adoniran" from one of his friends, and "Barbosa" from samba composer Luiz Barbosa, his idol.

In 1935 he won a Carnaval song contest sponsored by the city of São Paulo, with the samba Dona Boa, composed together with J. Aimberê. Spirited by that success, he married his longtime girlfriend Olga. The couple had a daughter, Maria Helena, but the marriage broke up in less than one year.

At the Rádio Record[link]

In 1941 he started performing comedy in the radio theater programs of the São Paulo radio station Rádio Record, — which would later become one of the top television and radio networks of Brazil — Rede Record. He remained with that network until his retirement in 1972; giving his voice to various popular characters created together with writer Osvaldo Moles, like: Pernafina, Zé Cunversa, and Jean Rubinet (a parody of a French movie star). He also played parts in the movies: Pif-Paf (1945) and Caídos do Céu ("Fallen from Heaven") (1946), both directed by Ademar Gonzaga. In 1949 he married Matilde de Lutiis, who would be his companion and co-author for the next 50 years.

In 1953 he made a fine performance in the movie O Cangaceiro, by director Lima Barreto. In the early 1950s he wrote many songs on typical São Paulo themes, most of them recorded by the band Demônios da Garoa, and won two other São Paulo Carnaval contests. In 1955 he introduced the enormously popular character Charutinho ("Short Cigar") in the radio humor show Histórias das Malocas ("Shantytown Stories").

Adoniran also acted in some of the earliest Brazilian soap operas (telenovelas), such as A Pensão de D. Isaura ("Ms. Isaura's Boarding Home"), and comic programs like Ceará contra 007 ("Ceará against 007") and Papai Sabe Nada ("Daddy Knows Nothing").

Later years[link]

In spite of the success of his songs and radio characters, Adoniran only became a star of sorts after 1973 when he recorded his first own album. That made him respected as a major composer, and gave him some media exposure. Nevertheless, through his career he continued living a simple and happy life. He had earned a private table at the Bar Brahma, one of the city's most traditional bars.

While he never lost his love of São Paulo, towards the end of his life he became increasinly sad about the disappearance of its traditional character. "Until the 1960s," he once said, "São Paulo still existed, but since then I have been looking for it, and could not find it. Brás, where is Brás now? And Bexiga, where is it? I was told to look for the Sé. Could not find it. all I see is cars and concrete."

While his music continued to be played, Adoniran himself was gradually forgotten by the public; so that when he died in 1982, in relative poverty, he had at his side only his wife and a brother in law. However, almost 30 years after his death he is still remembered by popular Brazilian singers like Perci Guzzo, who occasionally performs his songs in tribute.^[2]

Homages[link]

Besides the Museu Adoniran Barbosa (at Rua XV de Novembro, 347), there are many mementos of the composer scattered through São Paulo. He gave his name to a school in Itaquera, to a street in the borough of Bexiga, to a Bar Adoniran Barbosa, and to a square. In the Don Orione Square there is a bust of the artist, and in Jaçanã there is a street called "Rua Trem das Onze (11 PM Train Street)".

Musical production[link]

Themes[link]

Adoniran Barbosa made good on the hardships of his youth by becoming the composer of the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, and the poor who lived in the city's many malocas (the shanties of favelas) and cortiços (degraded multifamily row houses).

The themes of his songs are drawn from the life of low-wage urban workers, the unemployed and the vagabonds. His first big hit was Saudosa Maloca ("Shanty of Fond Memories", 1951), where three homeless friends recall with nostalgia their improvised shanty, which was torn down by the landowner to make room for a building. His next success Joga a Chave ("Throw me the Doorkey", 1952) was inspired on his own frequent experiences of arriving late at home and finding the door locked by his wife, Matilde. In his Trem das Onze ("The 11 PM Train", 1964), which has been ranked one of the five best samba songs ever, the protagonist explains to his lover that he cannot stay any longer because he has to catch the last train to the Jaçanã suburb, and besides his mother will not sleep before he arrives.

Adoniran's language[link]

Unlike the samba songs of the previous decades, which generally used the formal Portuguese of the educated class, Adoniran's lyrics are a realistic record of the informal speech of São Paulo's lower classes. He once said "I only write samba for the common people. That is why I write lyrics in 'wrong' Portuguese, because that is how the common people speak. Besides, I feel that samba is more beautiful when sung that way". The homeless narrator of his Saudosa Maloca, for example, tells of the day when his shanty was torn down by the landowner:

The peguemo instead of pegamos, fumo instead of fomos, nós sentia instead of nós sentíamos, and tauba instead of tábua were all standard features of the speech of many paulistas. Yet, because of the strong social prejudice attached to such "bad" Portuguese, few if any authors before Adoniran had dared to put those "errors" in writing. Even lyrics ostensibly sung by poor favela dwellers, such as the classic samba Chão de Estrelas ("Starry Floor"), were paragons of correct grammar and pronunciation.

Thus Adoniran's use of "real" Brazilian Portuguese was a revolution that may be comparable to Gershwin's use of Gullah in Porgy and Bess. Indeed, he was often strongly criticized for it, even by poet and composer Vinícius de Moraes (of The Girl from Ipanema fame). But Adoniran did not mind his critics, and his mastery allowed him to break impunely with convention: as he used to say, art was required to sing in "wrong" language. And the success of his most popular songs, such as Tiro ao Álvaro (1960), was undoubtedly due in good part to the warmth and naturalness of its language.

Barbosa was known as the composer to the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, as well as the poor who lived in the city's many shanties and cortiços (degraded multifamily row houses). He knew well the Italian-Portuguese pidgin spoken in the streets of São Paulo, mostly in the sections of Mooca, Brás and Bexiga. In 1965, Barbosa wrote Samba Italiano (Italian Samba), a song that has Brazilian rhythm and theme, but (mostly) Italian lyrics. Below, the lyrics of this song, with the parts in (mangled) Portuguese in bold and the parts in Italian in normal font:

Musical style[link]

His favorite musical style is the samba paulista, the samba of São Paulo, generally despised by the sambistas of Rio de Janeiro. A feature of this style is the samba de breque ("brake samba"), where the music is suddenly interrupted to make space for a few spoken words, or a sudden reversal in the melodic line. For example, one of his great successes, the Samba do Arnesto ("Arnest's Samba", 1953) begins:

O Arnesto nus convidou prum samba, ele mora no Brás.

"Arnest invited us for a samba, he lives in Brás."

The melodic line is suspended briefly for the phrase ele mora no Brás, which marks it as a parenthetical remark — not only in the lyrics, but in the music as well.

Compositions[link]

Malvina, 1951

Saudosa maloca, 1951

Joga a chave, with Osvaldo Moles 1952

Samba do Arnesto, 1953

Pra que chorar, with Matilde de Lutiis

A garoa vem descendo, with Matilde de Lutiis

As mariposas, 1955

Iracema, 1956

Apaga o fogo Mané, 1956

Bom-dia tristeza, 1958

Abrigo de vagabundo, 1959

No morro da Casa Verde, 1959

Prova de carinho, 1960

Tiro ao Álvaro, with Osvaldo Moles 1960

Luz da light, 1964

Trem das Onze, 1964

Agüenta a mão, 1965

Samba Italiano, 1965

Tocar na banda, 1965

Pafunça, with Osvaldo Moles 1965

O casamento do Moacir, 1967

Mulher, patrão e cachaça, 1968

Vila Esperança, 1968

Despejo na favela, 1969

Fica mais um pouco, amor, 1975

Acende o candieiro, 1972

Uma Simples Margarida (Samba do Metrô)

Já Fui uma Brasa

Rua dos Gusmões

Adoniran also left some 90 unpublished lyrics, which are being posthumously set to music by various composers.

Quotes[link]

• Deus dá o frio conforme o cubertô. ("God gives us the cold according to the blanket"). In: Saudosa Maloca (1951)
• Mai daí, o homem reza todo dia uma oração. Se quiser tirá de mim arguma coisa de bão, que me tire o trabáio. a muié não! ("Thence man prays every day so: if You wish to take something good away from me, please take away my job, not my woman!"). In: Conselho de Mulher.
• Não seja bobo, não se escracha. Mulher, patrão e cachaça, em qualquer canto se acha. ("Don't be a fool, don't get too upset. Woman, boss and brandy can be found on any corner"). In: Mulher, Patrão e Cachaça (1968).
• Nóis viemos aqui prá beber ou prá conversá? ("Did we come here to drink or to talk?"). In: Nóis Viemos Aqui Prá Quê?
• Falar errado é uma arte, senão vira deboche. ("To speak wrongly is an art, otherwise it becomes scoffing")

See also[link]

• Paulo Vanzolini

References[link]

External links[link]

• Official site
• Adoniran Barbosa. Biography (in Portuguese).
• Another one
• And another
• Lyrics of Adoniram Barbosa Songs. In Portuguese.
• MP3 Recordings of Adoniram Barbosa songs. Terra Music (30 sec. samples, sung by himself)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2010)

Elis Regina
Elis Regina
Background information
Birth name	Elis Regina Carvalho Costa
Also known as	Pimentinha or Furacão
Born	(1945-03-17)March 17, 1945 Porto Alegre, Brazil
Died	January 19, 1982(1982-01-19) (aged 36) São Paulo, Brazil
Genres	MPB, samba, rock, pop, jazz, bossa nova
Years active	1961–1982

Elis Regina Carvalho Costa, known simply as Elis Regina (Portuguese pronunciation: [eˈlis ʁeˈʒinɐ]; Porto Alegre, March 17, 1945 – São Paulo, January 19, 1982) was an important singer of Brazilian popular music.^[1] She became nationally renowned in 1965, after singing "Arrastão" (composed by Edu Lobo and Vinícius de Moraes) in the first edition of TV Excelsior festival song contest, and soon joined O Fino da Bossa, a television program on TV Record. Elis was noted for her perfect vocalization, as well as for her personal interpretation and outstanding performances in shows. She recorded several successful compositions, such as "Como nossos pais" (Belchior), "Upa Neguinho" (E. Lobo and Gianfrancesco Guarnieri), "Madalena" (Ivan Lins), "Casa no Campo" (Zé Rodrix and Tavito), "Águas de Março" (Tom Jobim), "Atrás da porta" (Chico Buarque and Francis Hime), "O bêbado e a equilibrista" (Aldir Blanc and João Bosco), "Conversando no bar" (Milton Nascimento), etc. Her premature death, at the age of 36, shocked Brazil. Elis Regina is widely regarded as the best Brazilian singer of all times by many critics, musicians, and commentators.^{[2][3][4][5][6]}

Biography[link]

Childhood home of Elis Regina, in Porto Alegre.

Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land).^[2]

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net)^[7] by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música Popular Brasileira or Brazilian Popular Music), distinguished from the previous bossa nova.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque,Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper").

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn:^[8]: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Family[link]

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger Cesar Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Death[link]

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction.^[1]More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.^[9]

Biography[link]

Regina Echeverria Portuguese: Furacão Elis by Regina Echeverria

English: Furacão Elis by Regina Echeverria –English translation Robert St-Louis ^[10] Chronology of Elis' life: Chronology

Discography[link]

• 1961: Viva a Brotolândia (first album recording in 1961 at age 16)
• 1962: Poema de Amor
• 1963: O Bem do Amor
• 1963: Ellis Regina (listed with two l's)
• 1965: Dois na Bossa
• 1965: O Fino do Fino – Elis & Zimbo Trio
• 1965: Samba, Eu Canto Assim!
• 1966: Dois na Bossa nº2
• 1966: Elis
• 1967: Dois na Bossa nº3
• 1968: Elis Especial
• 1969: Elis, Como & Porque
• 1969: Elis Regina in London
• 1969: Aquarela do Brasil – Elis Regina & Toots Thielemans
• 1970: Em Pleno Verão
• 1970: Elis no Teatro da Praia com Miele & Bôscoli
• 1971: Ela
• 1972: Elis
• 1973: Elis - no 2
• 1973: Elis
• 1974: Elis
• 1974: Elis & Tom
• 1976: Falso Brilhante
• 1977: Elis
• 1978: Transversal do Tempo (live)
• 1979: Essa Mulher
• 1979: Elis Especial
• 1980: Saudades do Brasil
• 1980: Elis
• 1982: Montreux Jazz Festival – 16 tracks.
• 1982: Trem Azul (live) a bootleg final live recording.
• 1983: Vento de Maio (compilation)
• 1984: Luz das Estrelas
• 1987: Personalidade
• 1994: Elis Regina no Fino da Bossa (live)
• 1994: Dose Dupla-Elis Regina (digital compilation of her first 2 recordings from 1961 and 1962)
• 1995: Elis ao Vivo (live)
• 2001: Sucessos Inesquecíveis de Elis Regina (compilation)
• 2002: 20 Anos de Saudade (compilation)
• 2004: Little Pepper: The Definitive Collection (compilation)
• 2005: Elis Regina: MPB Especial 1973 – black and white DVD released in 2005 (TV show)
• 2006: Elis Regina Carvalho Costa – full color DVD released in 2006 (live show)
• 2006: Elis full color 3 DVD box set  :composed of "Na Batucada Da Vida", "Doce De Pimenta", and "Falso Brilhante"
• 2006: Por toda a minha vida – Brazilian TV GLOBO special in December 28, 2006 (TV show)
• 2006: Pérolas Raras
• 2012: Um Dia -the complete 27 track Elis Regina 1979 Montreux Jazz Festival live performance on 2 CDs (Warner).

Further reading[link]

• KIECHALOSKI, Zeca (1984) Elis Regina. Col. Esses Gaúchos. Porto Alegre: Tchê! 101p.
• ECHEVERRIA, Regina (1985) Furacão Elis. Inclui cronologia e discografia por Maria Luiza Kfouri. Rio de Janeiro: Nórdica / Círculo do Livro. 363p. 2.ed. rev. ampl. 1994 (São Paulo: Ed. Globo); 3.ed. 2002 (São Paulo: Ed. Globo). 239p. ISBN 85-250-3514-9
• Elis Regina Por Ela Mesma. (1995) Org. Osny Arashiro. São Paulo: Martin Claret. 2.ed. rev. 2004. 229p. ISBN 85-7232-085-7
• O Melhor de Elis Regina. (2003) Melodias cifradas com as letras de 28 músicas do repertório de Elis Regina. Ed. Irmãos Vitale. 112p. ISBN 85-7407-088-2
• SARSANO, José Roberto. (2005) Boulevard des Capucines. Teatro Olympia, Paris 1968: Elis Regina e Bossa Jazz Trio em uma época de ouro da MPB. Ed. Árvore da Terra. 207p. ISBN 85-85136-29-4
• GOÉS, Ludenbergue. Mulher brasileira em primeiro lugar: o exemplo e as lições de vida de 130 brasileiras consagradas no exterior. Ediouro Publicações, 2007. ISBN 85-00-01998-0
• Ricardo Pugialli, Almanaque da Jovem guarda: nos embalos de uma década cheia de brasa, mora?. Ediouro Publicações, 2006. ISBN 85-00-02073-3
• Walter Silva, Vou te contar: histórias de música popular brasileira. Conex, 2002. ISBN 85-88953-05-6
• Osny Arashiro, Elis Regina por ela mesma. M. Claret, 1995.

References[link]

External links[link]

Biography portal

Wikimedia Commons has media related to: Elis Regina

• Biography of Elis Regina (Portuguese)
• Biography and discography of Elis Regina (English)
• Videos e history (Portuguese)
• "Elis Regina". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6361. Retrieved September 3, 2010. 
• Billboard.com Biography of Elis Regina (English)
• Elis Regina discography at Discogs
• [1]
• Chronology (English) from Furacão Elis The biography by Regina Echeverria

Luar na Lubre is a Celtic music ensemble from Galicia, Spain.

Etymology[link]

Luar is Galician for moonlight; lubre is a magical forest in which the Celtic druids cast their spells.

Biography[link]

During its career, this musical group has spread Galician music and culture. The band became famous worldwide after Mike Oldfield took interest in their music. Oldfield fell in love with their song "O son do ar" (The sound of the air, composed by Bieito Romero). Oldfield's cover is on his Voyager album, entitled "Song of the Sun". In 1992 he offered help in their worldwide tour. Their tour together was called Tubular Bells 3.^{[1][dead link]} Now it is one of the most famous groups from Galicia. Their first singer Rosa Cedrón is also featured with Mike Oldfield in some songs from his live concert at Horseguard's Parade, near St James' Park, London. Rosa Cedrón left the band in 2005 and Sara Vidal became the new singer. In 2010, the group's leader, Bieito Romero, said the group was "fully fit".^[2]

The group recorded a version of Gerdundula by Status Quo.

The Spanish heavy metal band Mägo de Oz made a cover of Luar na Lubre's song "Memoria da Noite."

Their most famous singles are "O son do ar", "Tu gitana" and "Chove en Santiago". Most of their lyrics are in the Galician language. Their song "Nau", written by Bieito Romero is about Galicia as a ship with no direction.^{[3][dead link]}

The song "Downstream" by Shira Kammen on her album "Music of waters" appears to have used its own cover of "O son do ar" in a segment of the song.

Members[link]

Current members

• Paula Rey – Vocals
• Xulio Valera – Bouzouki, vocals and percussion
• Bieito Romero – Bagpipes, accordion and zanfoña
• Eduardo Coma – Fiddle
• Patxi Bermudez – Bodhran, drum and djembe
• Pedro Valero – Acoustic guitar
• Xavier Ferreiro – Latin percussion and effects
• Xan Cerqueiro – Flutes

Former members

• Ana Espinosa – Vocals
• Rosa Cedrón – Vocals (1996–2005)
• Sara Louraço Vidal – Vocals (2005–2011)

Discography[link]

• Mar Maior (2012)
• Solsticio (2010)^[2]
• Ao vivo (2009)
• Camiños da fin da terra (2007)
• Saudade (2005)
• Hai un paraiso (2004)
• Espiral (2002)
• XV aniversario (2001)
• Cabo do mundo (1999)
• Plenilunio (1997)
• Ara Solis (1993)
• Beira atlántica (1990)
• O son do ar (1988)

References[link]

1. ^ Labanyi, Jo (2002). Constructing identity in contemporary Spain: theoretical debates and cultural practice. Oxford University Press. pp. 343. ISBN 0-19-815993-5, 9780198159933. http://books.google.co.uk/books?hl=en&lr=lang_en. Retrieved 2010-05-24. 
2. ^ ^{a b} "Luar Na Lubre - Solsticio (Spain 2010) @320". Folk Yourself. 24 March 2011. http://folkyourself.blogspot.com/2011/03/luar-na-lubre-solsticio-spain-2010-320.html. Retrieved 17 July 2011. 
3. ^ Romero, Eugenia R. (2006). "Amusement Parks, Bagpipes, and Cemeteries: Fantastic Spaces of Galician Identity through Emigration". Journal of Spanish Cultural Studies 7 (2): 155–169. DOI:10.1080/14636200600811177. http://www.informaworld.com/smpp/content~content=a747737676&db=all. 

External links[link]

• Luar na Lubre's official website