"Why won't you see
My western side?
[...]
I'm from South America
I know, you won't know
But now I'm a cowboy
I'm from gold, I am you
I am the world, I'm Minas Gerais" (Para Lennon e McCartney – Milton Nascimento, 1970)
Despite being nominated for Best Jazz Vocal Album for Milton + Esperanza, alongside remarkable American jazz musician, Esperanza Spalding, Brazilian music legend Milton Nascimento was not given a seat at the main tables at the Crypto.com Arena during the 2025 Grammy Ceremony. In protest, Spalding declared, "This living legend should be seated here." Even the Brazilian Ministry of Culture issued a statement on Tuesday, February 4th, expressing "outrage."Milton Nascimento was born to Maria do Carmo Nascimento, a domestic worker who registered him without the name of his biological father. Tragically, she died of tuberculosis when Milton was just two years old in Tijuca. After her passing, he was raised by his grandmother, Maria Antônia, a mother of ten, in Três Pontas (Minas Gerais). His song "Maria, Maria" can be seen as a tribute to these women who shaped his early life. Milton was later adopted by Dona Lília, the daughter of the boarding house where his grandmother worked, and her husband, Seu Josino. Lília, a music teacher, played a pivotal role in Milton's pursuit of an artistic career.
Milton Nascimento grew up amid the veiled racism ingrained in Brazilian society. He started writing songs at dance balls and in bars, sometimes in exchange for food. Without prospects, financial support, or family connections, he moved to Belo Horizonte, carrying only his talent. To make ends meet, he worked as a typist and even used the typewriter as an instrument to compose songs that would span decades.
Brazil was the last Latin American country to abolish slavery, in 1888. Throughout the 19th century, enslaved individuals fought for their freedom through escapes to quilombos, rebellions, and gradual legal emancipation. After abolition, many formerly enslaved individuals migrated in search of better opportunities or to reunite with family but often faced repression, being labeled as idle or vagrant. With limited access to land and education, they were forced into low-wage labor for large landowners, trapping them in a cycle of poverty and social marginalization. Even today, domestic work remains a common path for poor Black women in Brazil, who continue to face systemic discrimination based on gender, skin color, class, and often, illiteracy. Brazil has the highest number of domestic workers in the world, yet only 28% have formal employment contracts and legal rights.
Tijuca, a neighborhood in Rio de Janeiro's North Zone, is known for its working-class communities. In the 1960s, it played a significant role in the evolution of Brazilian popular music (MPB), particularly the Jovem Guarda movement with Erasmo Carlos (the Brazilian rock king) and Roberto Carlos (the Brazilian king). It was also the birthplace of Tim Maia, the "king of Brazilian soul," and Jorge Ben Jor. Jovem Guarda blended 1950s and early 1960s rock 'n' roll with Motown soul, focusing on themes of love and teenage experiences. The movement introduced electric guitars into Brazilian music and laid the groundwork for later fusions with rock 'n' roll.
Defining MPB can be a subject of debate, but it is widely agreed that the genre is characterized by its diversity. As a vast country, Brazil is home to a wide array of musical styles that reflect regional differences while uniting the nation through a distinct and iconic sound. MPB emerged from this melting pot of influences, creating a unique and powerful musical identity.
During Brazil's 21-year military dictatorship, amid authoritarianism, political persecution, exile, and censorship, MPB became more than just music—it became a tool for cultural resistance. It challenged censorship, advocated for political reform, and expressed solidarity with marginalized communities. In a time of political turmoil, MPB’s resilience transformed it from a mere musical genre into a voice of defiance and unity in the face of oppression.
Minas Gerais’ music scene was still developing when Milton Nascimento helped place it firmly on Brazil’s cultural map. Today, artists like Ana Carolina, Roberta Campos, Pato Fu, Skank, and Lagun carry forward the legacy of the state’s musical contributions. It is also worth mentioning Tião Carreiro, a pioneer of regional countryside music that laid the foundation for sertanejo, Brazil’s most popular genre today, often considered a cousin to North American country music.
Milton Nascimento is an octogenarian titan, a symbol of Black excellence, a mental health survivor after a decade-long battle with depression, and a staunch supporter of the LGBT+ community.
Politically and socially engaged, he fought against both dictatorship and racism. He was one of the few artists censored and persecuted during this period. In 1975, amidst the military regime's chaos, he penned "Paula e Bebeto," with the chorus "Qualquer maneira de amor vale a pena" ("Any way of love is worth it"). The gay rights movement in Brazil was in its early stages in the late 1970s and early 1980s, facing intense persecution and repression.
Nascimento stood alongside Chico Buarque in 1978 with "Cálice," a powerful wordplay where the title sounds like "cale-se" ("shut up"), reflecting the harsh censorship of the era. The song also invokes the religious chalice as a symbol of sacrifice and the struggle for freedom of expression. Many of Milton’s songs faced censorship, yet they transcended repression. Some notable examples include "Hoje é dia de El-Rey," "Cadê," "Os Escravos de Jó," "O Que Será (A Flor da Terra)," and "Milagre dos Peixes."
While many of his contemporaries went into exile, Milton stayed in Brazil, growing closer to the student movement. He composed "Coração de Estudante," which became the anthem of Diretas Já, the civil movement demanding direct presidential elections. This movement was instrumental in Brazil’s return to democracy, culminating in the election of the country’s first directly elected president in over two decades in 1985.
Milton Nascimento is a key figure in Clube da Esquina, one of the most acclaimed albums in Brazilian culture. The movement, born from the friendship between Milton and the Borges brothers, was named after the street corner in Santa Tereza, Belo Horizonte, where they would gather as teenagers. Their music, deeply experimental and poetic, tackled socio-political themes and personal introspection. The album was released in two parts, in 1972 and 1978, reflecting the coming-of-age journey of lifelong friends.
In 1977, Milton organized Show do Paraíso, a sort of Woodstock Mineiro, held on a farm near Três Pontas, bringing together key artists of the time.
Milton Nascimento’s music has earned him numerous awards and recognition, transcending generations and borders. With 34 studio albums, five Grammy Awards (including Best World Music Album for 'Nascimento' in 1998), and a 60-year career, he announced his retirement in 2022. His legacy is immortalized through TV programs, interviews, and documentaries, with more on the way.
Milton paved the way for generations of Black Brazilians seeking pride and identity. His influence stretches worldwide, with admirers including Quincy Jones, James Taylor, Paul Simon, Cat Stevens, Björk, Tony Bennett, and much more. He continues to inspire artists like Esperanza Spalding—after all, hope is the last to die—and Sir Paul McCartney, who always saves him a seat on his Brazilian tours.
