text:
Brazilian rock

Brazilian rock refers to rock music produced in Brazil and usually sung in Portuguese. In the 1960s, it was known as iê-iê-iê, the Portuguese transcription of the line "Yeah, yeah, yeah" from the Beatles song "She Loves You".

Overview
Rock entered the Brazilian music scene in 1956 with the screening of the film The Blackboard Jungle, featuring Bill Haley's "Rock Around the Clock", later covered in Portuguese by Nora Ney.

The electric guitar was introduced to Brazil in 1948, specifically in Salvador, by the carnival group Dodô e Osmar. They developed an instrument they called the pau elétrico ("electric stick"), notable for being the first electric guitar designed to eliminate microphonic feedback while producing a characteristic sustained sound. In 1949, Dodô and Osmar pioneered the use of this electric guitar in carnival celebrations, performing songs from an open car they dubbed the Trio Elétrico as they traveled through the streets of Salvador. This innovation has endured, evolving into today's large trucks that continue the tradition of mobile musical performances during Carnival.

1950s
In 1957, the first original Brazilian rock and roll song, Rock and roll em Copacabana, was penned by Miguel Gustavo. This pioneering track was recorded by the singer Cauby Peixoto and rose to #52 on the charts that year.

During this period, several bands performed songs that were rough translations of English lyrics, though several groups chose to focus on instrumental rock instead. This was in part inspired by instrumental bands such as Duane Eddy and The Champs. In 1958, this inspiration led to the release of the first Brazilian instrumental rock song, "Here's the Blue Jean Rockers" by The Blue Jean Rockers [pt]. Later the same year, Bolão & His Rockettes went on to record the country's first purely instrumental LP. These developments were crucial in establishing rock as a popular genre among Brazilian youth. Following these pioneering efforts, a wave of new bands emerged, including The Avalons, The Clevers [pt], The Rebels, The Jordans [pt], The Jet Blacks, The Pops, Os Populares, The Bells, The Lions, and The Youngs, further solidifying rock's place in Brazilian music culture.

1958 marked a watershed moment for Brazilian rock, witnessing the meteoric rise of several artists and bands. Notable figures such as Nora Ney, Nick Savoia, Celly Campelo, Tony Campelo (Celly Campelo's brother), Lana Bittencourt, Demétrius, Cinderella, Regiane, Ronnie Cord, and Hamilton di Giorgio achieved rapid success, establishing themselves as prominent names in the music scene virtually overnight. Additionally, instrumental groups such as the aforementioned Avalons, Tte Rebels, the Jordans, and Os Incríveis also gained widespread popularity, contributing to the vibrant and diverse landscape of Brazilian rock during this pivotal year.

1960s
When rock and roll took America by storm, Bill Haley and Elvis Presley also became liberating icons for Brazilian youth, who felt that they were under sexual and educational oppression, as Brazilian society had been based on the standards and rules of the Catholic church after colonization. Some movie theaters were wrecked during the showing of rock and roll movies.

Some radio disc-jockeys and recording companies set out to find new talents that could not only sing, but could also do it in perfect English.

Raul Seixas formed the first rock band from Salvador in 1965, the Panthers, which soon changed its name to Raulzito e os Panteras. Seixas was influenced by Luiz Gonzaga.

In 1963, Roberto Carlos had two hits: "Splish Splash", a Bobby Darin cover with Portuguese lyrics by Erasmo Carlos, and "Parei na Contramão" (I stopped at the wrong way), the first collaboration between Erasmo and Roberto Carlos. Roberto and Erasmo created Jovem Guarda. The beginning of the Jovem Guarda, with Roberto Carlos, Erasmo Carlos and Wanderléa, was a kind of Brazilian version of the North American garage bands in the 1960s but with a bit of influence from artists like Otis Redding. Ronnie Von started his career with the garage influence of Jovem Guarda, and his work unleashed the psychedelic style and he was who suggested the name of the band Os Mutantes. Jerry Adriani is identified with the Jovem Guarda too, but his influence on Brazilian rock is greater with his Italian rock/pop style: he brought Raul Seixas from Salvador to success afterward in Rio de Janeiro, allowing for his widespread national success and influence to future generations. Other artists and bands associated with the Jovem Guarda include Eduardo Araújo (and his late wife, Sylvinha Araújo), Martinha, Renato & Seus Blue Caps, Os Incríveis, Golden Boys, Os Vips, Vanusa and The Fevers.

Jorge Ben Jor (then known only as Jorge Ben) had several hits and transited between Jovem Guarda and a new form of playing guitar, with a rhythmic form that he invented. This new style was named Samba-rock, a style which would be followed by Banda Black Rio, Trio Mocotó, Luís Vagner, Bebeto (singer), Orlandivo and Wilson Simonal, among others.

The band The Bubbles, formed in 1965 in Rio de Janeiro, along with Serguei (singer), who released his first album in 1966, served as a bridge between psychedelic rock and the garage rock of Jovem Guarda. In São Paulo Os Baobás made their mark by recording cover versions of songs by The Kinks, Love, Turtles and the Rolling Stones, during the beginning of their activities. From the 1960s, Os Primitivos, hailing from Brasília, blended traditional folk rock (reminiscent of the Byrds) with Brazilian Northeastern folk music such as baião. Other bands that straddled the line between garage rock and Jovem Guarda, while also hinting at the beginning of psychedelia, were: O'Seis, José Luiz and The Pop's.

In the legendary show named Grupo Opinião, in 1964, the first Brazilian genuine musical, Zé Kéti represented the black people, João do Vale, the people from the Northeastern region, and Nara Leão (then substituted by Maria Bethânia) represented the woman from the Brazilian high society. The innovative proposal of this show changed Brazilian music forever from the post-Bossa Nova period because it introduced other Brazilian genres to popular music. Sometimes, with the protest characteristic, the MPB base was formed: Chico Buarque, Edu Lobo, Geraldo Vandré, Sérgio Ricardo, João Donato, Eumir Deodato, Roberto Menescal, MPB4, Quarteto em Cy, Francis Hime, and Joyce, arising from Bossa Nova, despite the music is not rock, their collaboration is important on almost all popular urban genres, including the rock. In 1969, Marcos Valle, who belonged to the second generation of the Bossa Nova, changed his style to a psychedelic rock and soul music Brazilian concept, and his brother Paulo Sérgio Valle went in a similar way. Sidney Miller (composer) is a very important musician for the MPB transformation process because he included rock and the 60s and 70s international pop in his music. From this post-bossa nova time, Tuca, a female singer/songwriter, traveled to Europe in 1969, settling in Paris for six years (she has performed for several countries including Spain, Italy, and Holland) when in 1971 Françoise Hardy released the album "La question", the result of a close partnership between both and thereafter, her performance turned more rocker.

The Tropicália movement turned the psychedelic rock and the use of electric instruments more popular in Brazilian music. Some tropicalistas were: Caetano Veloso, Gilberto Gil, Tom Zé, Gal Costa, Rogério Duprat, Torquato Neto, Nara Leão, and others. The seminal "tropicalista" Os Mutantes influenced and tended the psychedelic rock and roll and is one reference for several relevant bands and musicians in the world.

Clube da Esquina, a group of friends from Minas Gerais, one of the most culturally prolific regions of Brazil, was joined with the Tropicália and Jovem Guarda responsible for the diffusion on a bigger scale by the electrification of the pop and rock music, with a universal, but Brazilian proposal. Some musicians from this group are: Milton Nascimento, Lô Borges, Toninho Horta, Beto Guedes, Novelli, Nelson Angelo, Tavinho Moura and the band Som Imaginário.

1970s
The 1970s started with progressive rock, hard rock, and glam rock, but was a period of mutual interference between Brazilian pop music MPB and rock.

Rita Lee (former Mutantes vocalist) started her own work with her band Tutti Frutti, with glam rock-like aesthetics. Other bands from this period include Casa das Máquinas with its music between glam-hard-rock and progressive, Patrulha do Espaço (also formed by a former Mutantes member, Arnaldo Baptista) between progressive and Hard rock, Made in Brazil (band) with its hard rock (but in some songs already with the minimal characteristic of punk rock), the pure hard rock of Bixo da Seda, Edy Star, with his pure glam rock and the proto-metal band O Peso.

There were many progressive rock bands in Brazil, such as O Terço, Mutantes (without Rita Lee), A Bolha (Hard rock with Progressive mix), Módulo 1000, A Barca do Sol which made the remarkable album with Olivia Byington Corra o Risco, Som Nosso de Cada Dia, Bixo da Seda, Vímana (in which Lulu Santos and Lobão started their musical careers), Moto Perpétuo and Bacamarte, some of which have become well known in Europe and the US by progressive fans. The progressive rock band Som Imaginário had an experimental characteristic: jazz, bossa nova, contemporary music, impressionist music with the traditional folk and baroque from State of Minas Gerais resulting in a kind of a Brazilian art rock version, and with renowned musicians: Wagner Tiso, Zé Rodrix, Tavito, Luiz Alves (musician), Frederyko. Lula Côrtes and Zé Ramalho with their album Paêbirú that was originally released in 1975 (see 1975 in music), despite representing very well the Brazilian psychedelic movement of the 1960s and 1970s, it can also be considered like an experimental mix of progressive rock and Brazilian northeast folk music certainly. Another band with only one album, but today considered a classic of Brazilian rock is Karma (band) with the work of the same name released in 1972: a forceful melodic Brazilian folk music with a vocal that remember The Byrds, and a bit of progressive rock and jazz, consistent orchestral arranges, and the famous Jorge Amiden's tritarra (a guitar with three arms).

From that period, a genre known as "Rock Rural" emerged, blending Brazilian folk music with rock. Notable artists in this genre include Zé Rodrix, Ave Sangria, Sá & Guarabyra, Ruy Maurity, Almôndegas. This movement also saw a radical form of Brazilian folk music, which sometimes overlapped with rock, significantly influencing Brazilian rock at the time. Artists like Dércio Marques, Elomar, Xangai, Sérgio Reis, Diana Pequeno led this trend, followed by Almir Sater and Renato Teixeira in the 1980s. Marlui Miranda, known for her expertise in Brazilian indigenous music, represents an even more radical departure. Though her music is not traditionally categorized as rock, her innovative folk compositions contributed to the alternative aesthetic.

The "carioca" (from Rio de Janeiro city) Azymuth, was formed in 1969 and is the Jazz rock side of this generation, but is responsible for the Brazilian pop music development too. There are great musicians that can add up here - Jazz rock influence: Airto Moreira, Raul de Souza, Flora Purim, Hermeto Pascoal, Naná Vasconcelos, Arthur Verocai, André Geraissati, Egberto Gismonti, Grupo D'Alma, Eumir Deodato, and Sérgio Mendes (with Funk influence too).

This higher mix between rock and Brazilian pop music resulted in several famous musicians and bands: Secos & Molhados (identified as glam rock too), Raul Seixas, Novos Baianos, A Cor do Som, Robertinho do Recife and a union of Caetano Veloso, Gal Costa, Maria Bethânia and Gilberto Gil in the show named Doces Bárbaros. After the end of Secos & Molhados, João Ricardo (musician) continued his career, and his first album was all glam, Ney Matogrosso continued with great success and Gérson Conrad was constructing an alternative career. Other musicians - that helped to turn the traditional Brazilian music more flexible, with powerful rock or pop influences - were a relative hit too, like Elis Regina, Alceu Valença, Geraldo Azevedo, Belchior, Gonzaguinha, Zé Ramalho, Raimundo Fagner, Luiz Melodia, Boca Livre, Maria Alcina, Luli e Lucina and after the end of Novos Baianos, Baby Consuelo (then Baby do Brasil), Pepeu Gomes and Moraes Moreira, but there were musicians that made a more experimental mix, who didn't have the same good luck in their careers and access to the media, and because of this are known as "malditos", the darns, but at a later time they will be an important reference for the second Brazilian alternative scene - they are: Ednardo, Walter Franco, Jorge Mautner, Jards Macalé, Taiguara, Arnaldo Baptista (Mutantes) and Sérgio Sampaio. Marku Ribas is the side more Black music of this group and was Bob Marley's friend in the 1970s, Jamaica, where he lived. On the other hand, Tim Maia, directly influenced by Soul music side of the Jovem Guarda, made several hits, and his style influenced bands like Placa Luminosa and Skowa e a Máfia in the 80s.

In the 1970s, several attempts were made to organize festivals in Brazil. The "Festival de Verão de Guarapari" (Guarapari Summer Festival) in 1971 aimed to be a significant hippie gathering but faced organizational issues. Despite this, it remains a historic event, featuring performances by Milton Nascimento and Som Imaginário, A Bolha, Novos Baianos, Luiz Gonzaga and Tony Tornado. Another notable effort was the Primeiro Festival de Iacanga (First Iacanga Festival) in the State of São Paulo in 1975, held on a large farm with improved infrastructure. This festival became a landmark of the Brazilian underground, showcasing such bands as Jazzco, Apokalypsis, Som Nosso de Cada Dia, Moto Perpétuo, Ursa Maior, Rock da Mortalha, Orquestra Azul among others. The first Hollywood Rock festival took place in Rio, 1975 too, featuring performances by Raul Seixas, Rita Lee, O Terço, Vímana and others. Additionally, the 1970s saw two major international concerts in Brazil: Alice Cooper (1974) and Genesis (1977).

In the late 1970s, the progressive reference was still felt in Guilherme Arantes and 14 Bis (band).

Disco influence
Disco music, which arrived in Brazil in the 1970s, influenced artists such Rita Lee and Zé Rodrix. As Frenéticas became an instant phenomenon with their mix of Brazilian rock and disco.

Punk
The Brazilian punk rock scene emerged in the late 1970s in São Paulo, drawing inspiration from bands such as the Sex Pistols, MC5, Iggy & The Stooges and The Ramones. . Douglas Viscaino, a pioneering musician, played a key role in adopting and nurturing punk culture. He united young people in opposition to Brazil's military regime, channeling revolutionary ideas through the politically charged band Restos de Nada, which began performing in 1978. During the late 70s, interest in punk music rapidly expanded across the country. Early bands like AI-5 and N.A.I. (later known as Condutores de Cadáver) emerged in São Paulo, Carne Podre in Curitiba, and Aborto Elétrico in Brasília, marking the nationwide spread of the punk movement.

The first records from the end of the 1970s to the 1980s were demo tapes because Brazil had a dictatorial regime until 1985. From its beginnings, the Brazilian punk music style was more reminiscent of Jello Biafra of the Dead Kennedys than the Sex Pistols, that is, more akin to hardcore punk. An independent label named Punk Rock Discos was created at the beginning of the 1980s, which produced the first record of an individual Brazilian punk band, Lixomania, a six-song record released in 1982. By the same label, the first long play by a Brazilian punk band appeared in the same year, the Grito Suburbano album, with three bands from São Paulo city: Cólera, Olho Sêco and the Inocentes. Some of these first records are rare and well paid for by collectors in Europe and Japan. Brazilian punk rock gained visibility in the international media in 1982 with O Começo do Fim do Mundo, a festival that peacefully gathered rival gangs for the first time, and it is one of the biggest punk festivals in the world today. In 1985, a band led by Brazilian musician Supla released its first LP through a major label. In 1986, Inocentes and Replicantes, too, when the Brazilian punk scene was already growing colder. In 1986, Cólera was the first Brazilian punk band to perform internationally, and then Ratos de Porão. In the 1990s, punk returned to the scene. Some examples of bands: Renegados, Coquetel Molotov (electronic punk), Zumbis do Espaço, Ludovic, Mukeka di Rato, Blind Pigs (today Porcos Cegos), Carbona (band), Flicts, Ação Direta, Ack, Gritando HC, Nitrominds, Tequila Bab, Dominatrix (Brazilian band), Motores, Pastel de Miolos, Sweet Suburbia, Hellsakura, Pupila Dilatada, Dance of Days.

Wander Wildner, former frontman of Replicantes, released his solo debut in 1996 with a creative punk fusion that he named Punk-brega.

The early Brazilian punk scene was immortalized in the documentary Botinada: A Origem do Punk no Brasil directed by former MTV VJ Gastão Moreira.

1980s

Even though the 1960s witnessed the phenomenon of Jovem Guarda and the 1970s saw the appearance of many prolific artists, like Raul Seixas, and bands like Os Mutantes, Brazilian rock's explosion began in 1981 with the Brazilian new wave, later renamed the New Jovem Guarda by the media. Punk rock was already incorporated but Ska, Post-punk and brazilian ingredients was new. English new wave, with its surprising variety of styles, arrived in Brazil through groups and personalities such as the Agentss, Blitz, Camisa de Vênus, Barão Vermelho, Kid Abelha, Os Paralamas do Sucesso, Fausto Fawcett, Lulu Santos, Rádio Táxi, Sempre Livre, Marina Lima, Dr. Silvana & Cia., Kiko Zambianchi, Engenheiros do Hawaii, RPM, Metrô, Ultraje a Rigor, Legião Urbana, Ira!, Titãs, Capital Inicial, Nenhum de Nós, Dulce Quental, Biquíni Cavadão, Zero, Violeta de Outono, Fellini, Vange Leonel, Os Cascavelletes, Black Future, Léo Jaime and João Penca e Seus Miquinhos Amestrados. Rock in Rio took over a million people to "Cidade do Rock" during the 10 days of the event, and established Brazil as a venue for international artists - some artists, like Santana and Queen, had come before this event, but the number of international attractions rose abruptly after Rock in Rio.

Sepultra was formed in 1984 by brothers Max and Igor Cavalera; the band was a major force in the groove metal, thrash metal and death metal genres during the late 1980s and early 1990s, with their later experiments drawing influence from alternative metal, world music, nu metal, hardcore punk, and industrial metal.

From Minas Gerais, the instrumental group Uakti was debuting and despite their music not being rock in the classic meaning, their experimental music with the instruments built by the group (Anton Walter Smetak influence) started a new era in the Brazilian popular music.

The underground scene had - Post-punk with Jazz, Funk, Folk, Rap, Reggae, Art rock, Thrash metal, Dodecaphonic, and Atonal experience - experimental bands and musicians such as Arrigo Barnabé, Itamar Assumpção, Susana Salles, Robson Borba, Grupo Rumo, Tetê Espíndola, Eliete Negreiros, Bocato, Patife Band, Tiago Araripe, Os Mulheres Negras, Hermelino Neder - this group was identified as São Paulo Vanguard or "Vanguarda Paulistana", from the beginning of the 1980s. Some "cariocas" (from Rio de Janeiro) representatives of this style are Tim Rescala and Letícia Garcia.

On the other hand, had Hard rock, Punk rock and Heavy metal bands such as Vênus from the State of Piauí, Golpe de Estado (band), Viper, Korzus, Ratos de Porão, Mammoth and Karisma from the State of São Paulo, DeFalla from the State of Rio Grande do Sul, Sepultura from the State of Minas Gerais, and Dorsal Atlântica from the State of Rio de Janeiro, from the mid to late 1980s - this last, the pioneer in the unification of this three styles of hard music. But one of the first bands of extreme metal from Brazil is Sarcófago, also from Belo Horizonte, formed in 1985. The female Thrash metal band Volkana was founded in 1987 in Brasília.

This movement is seen as a reflection of the worldview of urban youth who had grown up under a dictatorial regime and faced such processes as industrial expansion. This is the same generation that enjoyed the democratic abertura (opening) and began to absorb rather quickly an infinite amount of new information, previously inaccessible. The universe of that generation appeared rich in diversity, implying a desire to enjoy the present.

In the 1980s and beginning of the 1990s another group that mixes electronic music scene up appeared - in Santos, Campinas, São Paulo and Rio de Janeiro cities - Electronic post-punk, Industrial, EBM, Technopop, and the similar genres - and some bands and artists are well known in Europe: Loop B, Harry, Sicilian Unit, Individual Industry, Biopsy, Simbolo, City Limits, Tetine, Inhumanoids, Morgue, Suba (his album "São Paulo Confessions" is a worldwide milestone to the Electronic music), Tek Noir etc.

It's important to emphasize that the history of the record label Baratos Afins became forever intertwined with the indie history in São Paulo and Brazil.

Two musicians and singer-songwriters, Renato Russo from Legião Urbana and Cazuza from Barão Vermelho, began brilliant solo careers from the 1980s to the 1990s but were HIV fatal victims.

1990s

At the start of the 1990s, the Brazilian music scene witnessed the birth of one of its most significant independent movements, influenced by British and American bands known for their loud, noisy guitar sounds, such as Sonic Youth, The Jesus and Mary Chain, My Bloody Valentine, and The Telescopes. This movement was characterised by its use of loud, noisy guitars, intense feedback, energetic performances, and English lyrics. Guitar bands began to emerge throughout the country, drawing criticism from music journalists who frequently questioned these bands' proficiency in a foreign language.

The most influential guitar bands of this period were Maria Angélica Não Mora Mais Aqui, Pin Ups, Second Come, Killing Chainsaw, Mickey Junkies, PELVs, The Cigarettes, Low Dream, brincando de deus, WRY (band), Garage Fuzz (started as a guitar band and later became hardcore), Beach Lizards, Dash, Dago Red, Velouria, Shed, Dead Poets and Snooze.

This moment can be called the first Brazilian independent scene (or indie scene). It was time to Grunge and Britpop, the distorted colors, the development of hardcore, and a return to Punk. The independent festival Juntatribo in Campinas in 1993 and 1994 and BHRIF - Belo Horizonte Rock Independente Festival in Belo Horizonte (Minas Gerais), in 1994 was a milestone and became the independent attitude a new option.

The 1990s also saw a resurgence in instrumental rock's popularity, and some of the classic bands from previous decades reformed. Surf music also became popular, especially The Argonauts, The Gasolines, and Os Ostras. Hard Rock had in 1993 a new representative in Brazil, Dr. Sin. Heavy metal had two debuts: in 1990 Torture Squad and in 1991 Angra - all of these are from São Paulo.

Also in this period, many other bands acquired widespread national projection, such as: Raimundos (which was formed in the late 1980s, but only released its first album in 1994) with its Forrocore style, Skank and O Rappa, both of which with a style that can be designated like a kind of reggae-rock, Pato Fu as the first indie band that arrived at mainstream, Charlie Brown Jr., with its alternative rock with rap and skate punk influences, and Mamonas Assassinas, who was a great hit with humour and rock but its members died in a tragic plane accident (1996). Also, Jota Quest was a success since the first album, 1996, and they arrived with a powerful pop-rock-funk.

From the end of the 1980s to beginning of the 1990s names like Planet Hemp, Karnak, Walverdes, Relespública, Virna Lisi (band), Graforreia Xilarmônica, Okotô and Boi Mamão are prominent.

The MTV Brasil Unplugged format brought back to the mainstream some bands whose career had been mainly consolidated in the 1980s, like the Titãs in 1997, Capital Inicial in 2000, Ira! in 2004 and Lobão in 2007.

At the beginning of the 1990s there was the Manguebeat (or Mangue Bit) movement that put Recife definitively as one of the principal places that has an important modern rock scene. Its style is a cross between the local rhythms, like Maracatu, and rock, hip hop and electronic music. Coming from this movement are Chico Science & Nação Zumbi (who shortened their name to only Nação Zumbi following Science's death), Mundo Livre S/A, Fred 04, DJ Dolores, Stela Campos, Otto etc.

Kurt Cobain after his shows in Brazil with Nirvana in 1993 helped spread the Brazilian rock in the world. David Byrne, Beck, Of Montreal, Devendra Banhart and others were influenced by the 1960s Tropicália and have divulged this musical style to the world. In the 1990s, Björk, Stereolab, Towa Tei, Amon Tobin and The High Llamas were approaching the Brazilian pop music increasingly.

Between the final 1990s and the beginning of the 21st century are relevant: Los Hermanos that is a noteworthy reference to the independent bands. Cássia Eller, who recorded several songs of the Brazilian rock musicians with powerful vocals and suddenly died in 2001. Pitty, the rarity of being a woman bandleader (with the band of the same name), has typified her career with brave lyrics and uncommon vocals. Lobão (who in the 1980s was mainstream) started his independent career and is obtaining a brilliant result, and the singer of Sepultura, Max Cavalera, left the band and started Soulfly with the same powerful Heavy metal.

The important hardcore scene from Brasília continued in this period with Raimundos and Rumbora. In the highlight of Raimundos, Rodolfo Abrantes, the vocal, decided to go out and assembled a new band, Rodox, in 2002, but they continued with the typical creative explosion of hardcore into the end of the band, in 2004.

Some rock genres are very specific in Brazil, but with an important scene since the 90s like Grindcore, Guitar, Psychobilly, Death Metal, Ska Punk, etc. Some highlights are Tihuana, Sapo Banjo, Madame Machado, Rusty Machine, Kães Vadius, and Sick Sick Sinners. There are several festivals about these genres in Brazil with faithful fans in Brazil. Krisiun is an example of Death Metal band that is a hit of this genre abroad of Brazil: they toured extensively through North America, South America, and Europe (recording their first official DVD while in Poland).

The early years of the 2000s
The boundary between MPB - "Música popular brasileira" - and international electric pop and rock was largely broken with the TV Record Festival (1967), a milestone seen in the documentary Uma Noite em 67, and Tropicalismo. Brazilian popular music resulted from a gradual union of regional folk music and contemporary urban references. However, in 1967, the dichotomy was evident ("MPB" versus electric music) because it was a visible beginning of the electric fusion in acoustic Brazilian music.

Musicians and bands of the 90s absorbed definitely the rock aesthetic in the "MPB" or vice versa: Chico César, Fernanda Abreu, Paula Morelenbaum, Adriana Calcanhotto, Lenine, Paulinho Moska, Ed Motta, Badi Assad, Marisa Monte, Carlinhos Brown, Arnaldo Antunes, Nando Rei Zeca Baleiro, Lula Queiroga, Jair Oliveira, Wilson Simoninha, Léo Minax, Chico Amaral, Marina Machado, Bebel Gilberto, Zélia Duncan, Tony Platão (or Toni Platão), Pedro Mariano and Max de Castro.

In the first decade of the millennium, many musicians had already incorporated the new rock as an alternative aesthetic to this generation. This new fusion is encountered in Fernando Catatau, Vanessa da Mata who has done backing vocals for Black Uhuru, Tatá Aeroplano, CéU, Curumin, Orquestra Imperial, The +2's, Mariana Aydar, Karina Buhr (see also Comadre Florzinha), Seu Jorge, Ana Cañas, Nina Becker, Rômulo Fróes, Márcia Castro, 3 na Massa, Bruno Morais, Cérebro Eletrônico, Fino Coletivo, Tulipa Ruiz, Thiago Pethit, Tiê, Marcelo Jeneci, Dante Ozzetti, Moisés Santana, Miriam Maria, Jonas Sá, Sergio Molina, Cicero, M. Takara, Leo Cavalcanti, Sobrado 112, Banda Sincrônica, Pedro Osmar, Gutti Mendes, Marcelo Pretto, Orquestra Contemporânea de Olinda, Kristoff Silva, Lu Horta, and Mandrágora. The Vanessa da Mata songs "Ai, Ai, Ai" and "Boa Sorte/Good Luck" (with guest vocals by Ben Harper) became number-one hits in Brazil.

The real independent attitude also a growing audience at the beginning of the 21st century. There are a lot of opportunities with the festivals such as Bananada (Goiânia), Porão do Rock (Brasília), Camping Rock (Itabirito), Humaitá Pra Peixe (Rio de Janeiro), Grito Rock (itinerant), Fora do Eixo (itinerant), Abril Pro Rock (Recife), Goiânia Noise (Goiânia), Mada (festival) (Natal, Rio Grande do Norte), Calango (festival)(Cuiabá), Festival Garimpo (Belo Horizonte), Varadouro (Rio Branco), Rec-Beat (Recife), Jambolada (Uberlândia), Vaca Amarela (Goiânia) and independent labels (like Monstro Discos, Senhor F, Mondo 77, Trama (gravadora), Travolta Discos, Deckdisc, Urban Jungle, Fora do Eixo Discos, Escárnio e Osso). It's a moment of intense creativity. The Brazilian indie scene, with the support of the internet, MTV, and the festivals gain a captive audience. Part is influenced by the Hard Rock, Hardcore, Metal, and part is influenced by 1990s rock, after the Strokes and Radiohead boom. There are references to 1970s Brazilian music and Glam rock, Folk music (Brazilian or not), 1980s B-rock, from the 1980s São Paulo Vanguard, Jovem Guarda (the garage side of this genre), Tropicália, the Samba rock and the Black music revisited, Electro, Rap, Ska, Jazz, Dub music, Funk Carioca and part is influenced by almost every one of these genres. A large number of bands were created. Among pioneers from this period are Cachorro Grande, Tetine, Cordel do Fogo Encantado, Cansei de Ser Sexy (CSS), Autoramas, Cibelle, Udora, Pedro Luís e a Parede, Bnegão, Cascadura (band), Mombojó, Forgotten Boys, Gram (band), Ludov, Cidadão Instigado, Canto dos Malditos na Terra do Nunca, Bidê ou Balde, Lampirônicos, Leela (band), Fernando Chuí, Hurtmold (instrumental), Zumbi do Mato, Mopho, Os Pistoleiros, Polara, Declinium, Pullovers, Mamelo Sound System, MQN, Vulgue Tolstoi, Flu, Doiseu Mimdoisema, Hipnóticos, Monokini, Sleepwalker, Astromato, The Butcher's Orquestra, Grenade, Wado, The Charts, Astronautas, Módulo, China and O Grito. The term Post-rock is already well used in Brazil.

Some magazines in the English language in the beginning of the 2000s deemed some worldwide genres like electronic rock (using this term on the 2000s music) and new rave having some Brazilian bands not only as the exponents but builders of these movements. 2015 was the first year in history that no songs by Brazilian rock acts were present at the list of the 100 most played songs on Brazilian radio, according to research carried out by Crowley Broadcast Analysis.

2010s
Wannabe Jalva is a space groove rock band formed in 2011 by Tiago Abrahão (guitar/bass/seq), Felipe Puperi (vocal/guitar), Rafael Rocha (vocal/guitar/bass) and Fernando Paulista (drums) in Porto Alegre, Brazil.

title: Brazilian rock


text:
Game publisher

Game publisher may refer to:

 * Card game publisher
 * Board game publisher
 * Video game publisher

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Game publisher


text:
Talk:Vanessa Bell

Untitled

 * cough* is it best to describe Duncan Grant as homosexual when he's "carrying on" with Vanessa Bell? wouldn't bisexual be a more accurate description?

Sexuality of Duncan Grant and David Garnett
Duncan Grant was primarily homosexual. According to Frances Spaulding's biography and other sources, he had many male lovers both before and after his liaison with Vanessa Bell. She, however, was his only known female lover, and their sexual relationship lasted only a short period of time. It seems that its primary purpose was to conceive a child together (whom Vanessa hoped would be a boy who would inherit his father's talent.) No doubt she would have liked their relationship to remain physically intimate, but by all accounts that ended with Angelica's birth. Many gay men have had similar temporary liaisons with women but still identify as gay, not bisexual. Duncan's letters as quoted by Spaulding seem to show his self-image in this light.

David Garnett, by contrast, was primarily heterosexual with a few homosexual affairs in his youth. He could, I suppose, be called bisexual. Spaulding quotes Duncan Grant as complaining that Bunny "wasn't a bugger" during their affair. After the liaison with Grant ended, Garnett married twice and had six children. Haddison 02:24, 26 July 2006 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Vanessa Bell. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070311022206/http://www.wikitree.org/index.php?title=Vanessa_Bell to http://www.wikitree.org/index.php?title=Vanessa_Bell

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 09:26, 28 November 2017 (UTC)

title: Talk:Vanessa Bell


text:
Émile Gentil

Émile Gentil (4 April 1866 – 30 March 1914) was a French colonial administrator, naval officer, and military leader. He is best known for heading two military missions to conquer and consolidate territories north from modern Gabon to Chad.

Early life and military career
Born at Volmunster in the department of Moselle, he later attended the École Navale, the school that formed French naval officers. As an ensign, he was assigned to conduct hydrographic soundings along the Gabonese coast from 1890 to 1892. That year, he joined the colonial administration in Gabon.

First Mission 1895–1897
In 1895, Gentil was ordered to find a practical route to Chad, claiming the area between for France, and hence thwarting German and British expansion. On 27 July 1895, Gentil headed up the Congo River on the French steamship Léon-Blot. The ship was then dismantled and hauled by African laborers through the forest to reach navigable portions of the Oubangui, where he founded the French station at Fort-Archambault near one of Sultan Rabih az-Zubayr's major towns, Kouno (now in the Chari-Baguirmi Region of Chad). The mission then transported the steamboat overland again to the Chari, which stretches to Lake Chad in the north.

In October 1897 he convinced the Sultan Abd ar Rahman Gwaranga to sign a treaty of alliance which gave France a protectorate over the Kingdom of Baguirmi, which was then threatened by Rabih az-Zubayr, the most powerful ruler in the Chad basin.

On 20 October Gentil's mission passed through Rabih az-Zubayr, reaching Lake Chad on the 28th.

Second Mission, 1899 (the Gentil Mission)
After returning from France, where he had successfully lobbied the government to support further expansion, Gentil made preparations for a second Mission to seize the Chari-Baguirmi region and the area around Lake Chad from Rabih az-Zubayr. In 1899–1900, the French organized three armed columns: the Gentil Mission proceeding north from French Congo, the infamous Voulet–Chanoine Mission east from Niger and the Foureau-Lamy Mission south from Algeria. The objective was to link all French possessions in Western Africa.

Again supported by the steamboat Léon-Blot, Gentil's force headed to the French station at Fort-Archambault Unbeknownst to them, a previous military expedition commanded by the Lieutenant de vaisseau Henri Bretonnet and the Lt. Solomon Braun, along with Sultan Gaourang's Baguirmi forces had been annihilated by Rabih's forces in the Battle of Togbao on 17 July after attacking Rabih at Kouno.

On 16 August, one of the three Senegalese tirailleurs who had survived reached Gentil and informed him of the battle.

The Gentil Mission burned the town of Kouno, and confronted Rabih at the Battle of Kouno on 28 October 1899. The French were pushed back, suffering losses, but this did not prevent them from linking up with the other missions at Kousséri on 21 April 1900, in what today is northern Cameroon. The next day the three columns commanded by Major Amédée-François Lamy confronted Rabih az-Zubayr, who still controlled most of Chad. The French won the ensuing Battle of Kousséri, ensuring them control of most of Chad, but the battle cost both commanders their lives. Rabih's son succeeded him, but his empire soon disintegrated under sustained French expansion.

This meant that the original expedition had now accomplished all its main aims: surveying the lands of Northern Nigeria and Niger (contributing to a clearer Franco-British delimitation of the colonial borders), uniting with the Foureau-Lamy mission and destroying Rabih's empire, which permitted the institution in September by the French government of the Military territory of Chad.

In Lamy's honour, Émile Gentil, who was later its first French governor, named the capital of the new French territory of Chad Fort-Lamy. In 1973 the Republic of Chad renamed it N'Djamena.

Governorship of French Congo
On 5 February 1902 Gentil was named commissioner-general of the French Congo, residing at Brazzaville.

Gabon's second-largest city was named Port-Gentil for him.

title: Émile Gentil


text:
User:Pixelfire

de:Benutzer:Pixelfire

title: User:Pixelfire


text:
Gallicism

A Gallicism can be:
 * a mode of speech peculiar to the French;
 * a French idiom;
 * in general, a French mode or custom.
 * a loanword, word or phrase borrowed from French.

title: Gallicism


text:
Vans

Vans (originally called the Van Doren Rubber Company) is an American apparel, accessories, and skateboarding shoes brand, established in Anaheim, California, and owned by VF Corporation. The company also sponsors surf, snowboarding, BMX, and motocross teams. From 1996 to 2019, the brand was the primary sponsor of the annual Warped Tour music festival.

History
Paul Van Doren, his brother James, and Gordon C. Lee opened the first Vans store as "The Van Doren Rubber Company" on March 16, 1966, at 704 East Broadway in Anaheim, California. The business manufactured shoes and sold them directly to the public. Upon opening, twelve customers purchased Vans deck shoes (now called "Authentic"), similar to those manufactured by Keds but with a thicker sole. The store had display models of three styles of shoes, priced between US$2.49 and US$4.99, but did not have any inventory ready to sell and Paul Van Doren did not have change to give customers; customers took their shoes home and came back the next day to pay.

The original Vans skateboard logo was designed in Costa Mesa, California, in the 1970s by Mark Van Doren, son of then-President and co-owner James Van Doren, at age 13; Mark's design was a stencil, allowing the logo to be spray-painted onto his skateboards. The design was incorporated into the heel tab on Style 95, an early Vans skateboard shoe. Mark's interest in skateboarding is what led Vans to manufacture skateboarding shoes.

In 1976, Vans began using its "Off The Wall" motto, a slang phrase used by skateboarders while doing tricks in empty pools. Around this time, Vans released its Vans Side-stripe and Vans #36, also known as the "Old Skool" design.

In 1984, facing heavy competition and a market flooded with Vans counterfeits, Vans lowered its prices and eventually filed for bankruptcy protection. In 1988, Van Doren and Lee sold the company to banking firm McCown De Leeuw & Co. for US$74.4 million. In 1989, many Vans counterfeiters were apprehended by the U.S. and Mexican governments and ordered to cease production.

By 1991, the company's shoes were highly desired due to high demand and low supply. The company expanded internationally; released new models, including snowboard shoes; and was renamed Vans, Inc. to reflect its customers calling the shoes "Vans" for short. The same year, Vans went public at US$14 per share on NASDAQ. In 2004, Vans merged with North Carolina-based VF Corporation. In 2016, in celebration of its 50th anniversary, Vans released a new logo and launched a campaign to target a wider audience. In 2022, Vans launched the new VR3 product line where 30% of the product is renewable, recycled or regenerative. VF Corporation will expand the VR3 product collection to more footwear and apparel categories.

Event sponsorship
Since 1999, Vans has sponsored and supported Warped Tour, the longest-running touring music festival to date in North America. In 2001, Warped Tour was rebranded as Vans Warped Tour.

Vans became the title sponsor of the US Open of Surfing in Huntington Beach, California, in 2014, and in 2010, the company sponsored the Duct Tape Invitational.

In 2022, to commence the US Open of Surfing period, Vans hosted the BMX Waffle Cup, a freestyle BMX invitational tournament. Their Huntington Beach skate park's course was modified by BMX riders for the tournament, and was themed after the US Open.

Public skate parks

Vans opened its first skate park in 1998 at The Outlets at Orange, in Orange, California. It features a 20,000 sqft indoor street course, 12 ft deep combo pool, area for amateurs, mini ramps, outdoor street course, and arcade. The park was updated in 2009. It has remained closed since March 2020, when BMX rider Tyler Kanarr died after sustaining major injuries in the park.

The company built its second skate park in Huntington Beach, California, which opened to the public in 2010. It includes a 17,500 sqft skate bowl and a 25,000 sqft skate plaza. The park is 42,500 sqft, and Vans pays the city US$1 per year for its 20-year lease.

There is a skate park in London, in The Old Vic Tunnels, called House of Vans.

In pop culture

Vans' shoes have often been customized cosmetically by wearers, with many of their painting and drawing patterns being adopted by the company for their official models. Most notably, the checkerboard pattern, popular in ska and punk culture, was adopted after the company noticed skateboarders drawing it on their shoes.

Vans reached its nationwide popularity when, in 1982, Sean Penn wore a pair of Vans checkerboard slip-ons as character Jeff Spicoli in Fast Times at Ridgemont High.

In 2016, the internet meme "Damn Daniel", featuring California teen Daniel Lara wearing Vans, went viral. In appreciation, the company gave Lara a lifetime supply of Vans shoes.

The Major League Baseball pitcher Michael Lorenzen grew up skateboarding with Vans. , he plays baseball wearing customized Vans UltraRange Exos with cleats, rather than traditional baseball shoes. On August 9, 2023, Lorenzen became the first pitcher to throw a no-hitter in Vans; the Vans will be displayed in the National Baseball Hall of Fame.

title: Vans


text:
Clare Torry

Clare H. Torry (born 29 November 1947) is a British singer, known for performing the improvised, wordless vocals on the song "The Great Gig in the Sky" on Pink Floyd's 1973 album The Dark Side of the Moon. She sang the theme of the 1977 film OCE in the same style, and also covered the Dolly Parton single "Love Is Like a Butterfly" for the opening titles of the BBC TV series Butterflies, which ran for four series between 1978 and 1983.

Early life
Clare Torry was born in November 1947 in Marylebone, London, to Geoffrey Napier Torry (1916–1979), who combined careers as Lieutenant-Commander in the Fleet Air Arm and Flight Lieutenant in the RAF, and his wife Dorothy W. Singer (1916–2017), who was secretary to six BBC Directors-General.

Career
In the 1960s Torry began a career as a singer, mostly performing covers of popular songs which included session work at Abbey Road Studios. She later worked as a staff songwriter for EMI.

In January 1973, Pink Floyd were finishing work on The Dark Side of the Moon at Abbey Road, and a female singer was needed to add vocals to an instrumental composition by Richard Wright to be called "The Great Gig in the Sky". Engineer Alan Parsons remembered having been impressed by Torry's voice, and she was booked for a session on Sunday 21 January.

 * ""They simply said, 'Who shall we get to sing this?' And I said, 'Well, I know a great singer.' I just knew her through one album of hit cover versions she'd done – you know, the cover albums that proliferated in the early 1970s. They were always done in a day. And I was very impressed with her. There was a bit of direction given: they said, 'Sorry, we've got no words, no melody line, just a chord sequence – just see what you can do with it.' She was only there for a couple of hours. As I remember, she did two or three tracks, from which we assembled the best bits for a master version. But somewhere in the archives are the bits we didn't use, and I'm sure it would make for an interesting remix version one day." – Alan Parsons."

On 4 November 1973, Torry sang "The Great Gig in the Sky" at the Rainbow Theatre in London. She sang it with Pink Floyd again at their 1990 concert at Knebworth, and with Roger Waters at some of his 1980s solo shows. She also contributed to Waters' 1986 soundtrack When the Wind Blows and to his 1987 album Radio K.A.O.S..

Torry performed as a session singer on 1970s UK TV adverts, and as a live backing vocalist with Kevin Ayers, Olivia Newton-John, Shriekback, The Alan Parsons Project (for whom she also sang lead vocal on one track on 1979's Eve), Procol Harum mainman Gary Brooker, Matthew Fisher, Cerrone, Meat Loaf (a duet on the song "Nowhere Fast", and the hit "Modern Girl"), Johnny Mercer and Doctors of Madness.

She performed Dolly Parton's "Love Is Like a Butterfly" as the theme music to the 1970s Wendy Craig/Geoffrey Palmer, Carla Lane sitcom Butterflies. The song was released as a single in 1981. Torry also released "Love for Living" in 1969, which was produced by Ronnie Scott and Robin Gibb. She sang the theme of the 1977 film OCE in the same style as "The Great Gig in the Sky".

In the 1970s she appeared on the French disco composer Cerrone's "Angelina", the Alan Parsons Project's "Don't Hold Back", and albums by Olivia Newton-John and Serge Gainsbourg. Her voice can be heard singing "Love to Love You Baby" (originally by Donna Summer) during the opening scene of the cult BBC Play for Today production of Abigail's Party in 1977. Torry sang backing vocals on the track "The War Song" from Culture Club's Waking Up with the House on Fire album in 1984, as well as on the track "Yellowstone Park" on the Tangerine Dream album Le Parc the following year.

Torry is also credited on the 1987 album En Dejlig Torsdag (A Lovely Thursday) by the Danish pop rock band TV-2, where she sings in a fashion similar to "The Great Gig in the Sky" at the end of the tracks "Stjernen I Mit Liv" ("The Star in my Life") and "I Baronessens Seng" ("In the Bed of the Baroness").

On 20 October 2010, Torry was presented with a BASCA Gold Badge Award in recognition of her unique contribution to music.

Lawsuit
In 2004, Torry sued Pink Floyd and EMI for songwriting royalties on the basis that her contribution to "The Great Gig in the Sky" constituted co-authorship with keyboardist Richard Wright. In 1973, as a session singer, she was paid only the standard flat fee of £30 for Sunday studio work (the equivalent of £400 in 2022). She said in 1998, "If I'd known then what I know now, I would have done something about organising copyright or publishing." In 2005, an out-of-court settlement was reached in Torry's favour, although the terms of the settlement were not disclosed. All releases after 2005 carry an additional credit for "Vocal composition by Clare Torry" in the "Great Gig in the Sky" segment of the booklet or liner notes.

Later work
In February 2006, Torry released Heaven in the Sky, a collection of her early pop recordings from the 1960s and 1970s. In 2011, she released a collaboration with musician and composer John Fyffe.

title: Clare Torry


text:
User:Davidcannon/Index-2

Articles I have edited
This page lists articles to which I have made a significant contribution, although I was not the original author. Only major edits are included here; I can't be bothered keeping a list of every article that I've wikified or copyedited (and I don't think anybody would be interested, anyway). Rewrites (articles started by others, usually as stubs, but which I have so completely reworked that they amount to an original article of mine, are listed on a separate page.
 * Index:
 * Topical Indices

title: User:Davidcannon/Index-2


text:
Derek Bell (racing driver)

Derek Reginald Bell (born 31 October 1941) is a British racing driver. In sportscar racing, he won the Le Mans 24 hours five times, the Daytona 24 three times and the World Sportscar Championship twice. He also raced in Formula One for the Ferrari, Wheatcroft, McLaren, Surtees and Tecno teams. He has been described by fellow racer Hans-Joachim Stuck as one of the most liked drivers of his generation.

Early career
Bell grew up on a farm and helped to run the Church Farm caravan site, complete with its own pub, near Pagham Harbour, boarding at The King's School, Worcester. He was encouraged by his stepfather Bernard Hender to take up racing with a Lotus Seven in 1964. He won his first race in the Lotus at Goodwood in March of that year. He graduated to Formula Three in the following year racing a Lotus 31 and in 1966 switched to a Lotus 41 scoring his first victory, again at Goodwood. In 1967 he enjoyed seven wins. He entered Formula Two in a privateer Brabham BT23C fielded by his stepfather's Church Farm Racing team and after several promising performances, which caught Enzo Ferrari's eye, made his Formula One Grand Prix debut for Ferrari at Monza in 1968. He contested the 1969 Tasman Series in a 2.4 Dino and was second at Lakeside to Amon and Rindt at Warwick Farm. In 1969 he raced the four-wheel-drive McLaren M9A in its only ever race at the British Grand Prix at Silverstone.

Bell took part in the filming of Le Mans (1970) starring Steve McQueen, and he and his family lived with the McQueen family during the filming, the two becoming friends. Bell had a lucky escape during the making of the film. The Ferrari 512 he was driving suddenly caught fire whilst getting into position for a take. He managed to get out of the car just before it was engulfed in flames and suffered minor burns. Although the car was badly damaged, it was later rebuilt and is still racing at historic meets.

Bell finished second in the 1970 European Formula Two Championship, driving a Brabham BT30 for Wheatcroft Racing. In 1972 he got a drive in the Tecno Formula One team, along with Nanni Galli. He later raced a number of times for the Surtees team, including a sixth place at the 1970 United States Grand Prix racing a Surtees TS7, which was to be his highest finish in the Formula One World Championship. He had a few further drives for Surtees in 1974 and finished 11th in the 1974 German Grand Prix. Enjoying single seaters more than sports cars he accepted drives in F5000/Libre British Shellsport series and F5000 in 1976-7 the Penske PC7 March and also odd F5000 drives in the US and Australia.

It was to be in sports car racing, which he came to via a drive in Jacques Swaters privately entered Ferrari 512M in the 1970 Spa 1000 km, leading to a Ferrari works drive at the 1970 Le Mans 24 hours, where he built a strong reputation as a world class and world championship winning racer.

Le Mans
Bell won the Le Mans 24 hours race five times, in 1975, 1981, 1982, 1986 and 1987, making him the most successful British driver in the race to date. He was teamed with the Belgian Jacky Ickx in 1975, racing the Gulf Mirage GR8, again in 1981, racing a Porsche 936, and finally in 1982 racing a Rothmans Porsche 956. Bell went on to win the 1986 and 1987 Le Mans teamed with Hans-Joachim Stuck and Al Holbert racing a Rothmans Porsche 962.

His first Le Mans was in 1970 in a works-entered Ferrari 512, with co-driver Ronnie Peterson, his last in 1996 racing a McLaren F1 GTR. Bell achieved his highest ever speed at Le Mans at the 1971 Le Mans 24 hours April test day, reaching a calculated top speed of 246 mph on the Mulsanne Straight in the JW Gulf Porsche 917LH.

Sportscar racing
Bell also won the World Sportscar Championship title twice in 1985 and 1986 and the 24 Hours of Daytona three times in 1986, 1987 and 1989. He won the 1973 Silverstone RAC Tourist Trophy racing a BMW 3.0CSL with Harald Ertl. In 1984 he won the Nürburgring 1000km with Stefan Bellof, racing a Porsche 956, with a notable fourth place in the 1974 Nürburgring 1000km racing a Gulf GR7 with James Hunt on the longer 22.8 km circuit.

His first victory in the Spa 1000km came in 1974 racing a Mirage M6 with Mike Hailwood, going onto win the 1975 and 1984 editions, with Henri Pescarolo, in 1975, in that season's dominant Alfa Romeo Tipo 33TT12 on the old 14 km track and with Stefan Bellof, in the equally dominant Porsche 956 of 1984, on the shorter circuit used by Formula One. He is also one of two drivers to win the Spa 1000km on both the original and current circuits, the other being Jacky Ickx.

Post-racing career
Bell was hired as chairman for the Spectre R42 super car project between 1996 and its demise in 1997. In 2001 he was hired to consult for the Bentley Speed 8 programme, helping Bentley to win Le Mans two years later. He now splits his time between the United States and his home near Chichester, UK, with his wife Misti. He is an after dinner speaker and motorsport commentator, and also races in historic events, and is a global ambassador for Bentley. Bell is also an operating partner of Bentley Naples in Naples, Florida.

His eldest son Justin Bell is also a racer. The two raced together in the 1991 24 Hours of Daytona, and the 1992 24 Hours of Le Mans. Bell was to race in the 2008 24 Hours of Daytona with Justin, however the car dropped out of the race early and Derek did not get to run in the race. Aside from winning at Le Mans five times, he claims his proudest moment was coming third with his son Justin racing the Harrods sponsored McLaren F1 GTR in the 1995 Le Mans on Fathers Day.

Bell is a patron for the charities Dementia Support, Hope for Tomorrow, Mission Motorsport and the Henry Surtees Foundation. He is also an Ambassador for the Fly Navy Heritage Trust.

He is currently the president of the oldest pram race in the world. The Pagham Pram Race started in 1946 and is run annually at 11am on Boxing Day.

Bell returned to Le Mans to race a Porsche 962 for the first time in 20 years in the Group C support race at Le Mans on 16 June 2012.

He was presented with Honorary Life membership of the AA in recognition of his 50 years in motorsport, commemorated by a plaque presented by Lord March at the Moving Motorshow during the 2014 Goodwood Festival of Speed in the presence of Chris Jansen, CEO of the AA, and Edmund King, the president of the AA.

Bell was the grand marshal at the 2014 Silverstone 6 Hours, 2010 Twelve Hours of Sebring and 2021 24 hours of Le Mans.

Awards

 * BRDC Gold Star: 1984, 1985, 1986 and 1987
 * Royal Automobile Club Plaque d'Honneur: 1985
 * Guild of Motoring Writers Driver of the Year: 1982 and 1985
 * Bell was awarded the MBE in 1986 for services to motorsport.
 * Inducted into the Motorsports Hall of Fame of America in 2012.
 * Inducted into the Le Mans 24 Hours Drivers Hall of Fame in 2013.
 * Inducted in to the Motor Sport Hall of Fame UK in 2016
 * Presented with Honorary Life Membership of the AA in recognition of his 50 years in motorsport at the 2014 Goodwood Festival of Speed
 * was made citizen of honor of the city of Angoulême in 2017
 * 2017 Simeone Foundation Spirit of Competition Award

Career summary
† As Bell was a guest driver, he was ineligible for championship points.

Complete European Formula Two Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)

Complete Formula One World Championship results
(key)

Complete Formula One Non-Championship results
(key)

Complete Tasman Series results
(key)

Complete European F5000 Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap.)

Complete Shellsport International Series results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap)

Complete British Saloon Car Championship results
(key) (Races in bold indicate pole position; races in italics indicate fastest lap.)

title: Derek Bell (racing driver)