Black Juniors - Black Juniors Album

When we are kids, let's not like some categories of movies and some musical styles - movies and music made for kids, for example - as soon as we can decide we've learned to avoid them. Children are usually reprimanded by adults when they say they liked a particular record or movie; the adults of little sensitivity rush to indicate elements in this record or in that film that the children did not understand, and it is easy and simple to humiliate them in this way.

In a way, the Black Juniors were a group of teenage dancers created in the suburb of São Paulo, and musically and publicly oriented by the notorious Argentinean producer living in Brazil in the 1980s, Mr. Sam.It was a sound made by children and teenagers, but with the support of an adult producer and adult arranger - Eduardo Assad- , who certainly did a great job, which deserves attention in the track "Hey Dis Joquei", a great electro with interesting melodies composed by the synth DX7.

Unlike the so-called "pure arts," music and cinema are open and virtually unlimited. In cultures where music is a foreign production, for example, it is used in a more primitive way than in its own culture; can be appreciated in a way that we can not even imagine. It is likely that the sophisticated and experienced listener will forget how certain recordings and musical styles seemed to him to be new and surprising one day, as it may seem to a child when he hears a certain record or has contact with a particular musical style for the first time. Still paralleled with cinema, a child may enjoy a movie just for its sense of fun, without understanding it as the parents, just as a person outside Italy might like a Fellini movie as a comedy though in Italy this same film is seen as social criticism or political satire. But why am I saying this?

I am trying to say that, outside the country of origin, a particular record can be seen as something exotic, something outside that culture and in this way be appreciated. Different cultures have different ways of appreciating - and reacting - to music (and cinema). This and other Brazilian records of Electro, made between 1984 and 1985, for example, were hidden years in the boxes of record stores, but today they catch the attention of collectors of diverse places of the world - as well as the records of (brazilian) boogie in recent years and now Brazilian hip-hop records made in the late 1980s and early 1990s. And often these records are seen as something new, which has a certain fresh, that is, something that arouses a certain curiosity precisely because many people did not imagine until some years ago that records like this were made in Brazil.

Obviously, in the USA, between the early and mid-1980s, many records were made of this aesthetic, but I would be foolish to judge the reasons why people from other countries have looked at these records produced in Brazil, on the other hand, I am brazilian and I searched for many years records with this aesthetic made in the USA. Finally, we are interested in a particular record, music or musical style because we like them, and the reason we like little has to do with what we think of art, and that goes beyond the linguistic and cultural borders between countries. Likewise, it is foolish to tell a child that she may not have liked a movie or a record because she did not understand the references or nuances contained in them.I could say that we are moved by our passions and our impulses, although we do not understand the motives.

Cheers,
Rodrigo.