Adele’s soulful ballad “Million Years Ago” has been yanked off streaming platforms all over the world. It comes with a court judgment in Brazil that it heavily copied the samba classic “Mulheres” by composer Toninho Geraes, the first recorded by Martinho da Vila in 1995. This has served as a shock to all of Adele’s followers, while also reviving debate about cultural appropriation and the originality of artists in this world.
It was the subject of an argument with Adele when the complaint began in 2021 for the unauthorized use of “Mulheres” after it went viral. What’s more, for Brazilians, this is not at all just an issue over intellectual copyright but about the safeguarding of the heart from where samba emanates—a genre that belongs to them more than anywhere else. Geraes spoke proudly of what this meant after the court’s judgment. Not his victory, but victory for the cultural identity of Brazil. “That melody belongs to Brazil,” said his lawyer, framing the case as one of recognition as much as of justice.
A ruling by Judge Victor Torres has left Sony and Universal in hot water. Fined $8,000, the companies had failed to follow through with the court-ordered removal of the track, which has since vanished from both Spotify and Apple Music. This sudden vanishing has utterly shattered the spirit of so many fans of Adele worldwide. In this regard, “Million Years Ago” constitutes probably one of her most highly emotive songs, also off of the album 25.
As the drama unfolds, Adele has remained curiously silent, leaving fans to guess how she feels about the situation. It’s not the first time plagiarism claims have been hurled her way-once in 2015, the family of Kurdish singer Ahmet Kaya claimed “Million Years Ago” borrowed heavily from his song “Acilara Tutunmak.” At the time, fans came out in droves to defend Adele, insisting any similarities were accidental. It remains to be seen whether they’ll do the same this time around.
The lawsuit also brought to light a deeper cultural issue. For Geraes himself, this is more than a legal dispute; it represents an opportunity to celebrate one of the most important modes of samba on the worldwide stage. His lawyer celebrated the ruling as a rare moment to make samba visible beyond its shadows:
“The samba is not in the twilight; it’s a shining ray of light. It ought to have its moment.”
The tone has resonated in Brazil, the land of Carnival, when the fans hailed the decision to say that it was long overdue and hailed their musical heritage with fanfare. Meanwhile, some fans of Adele remained torn between emotions. Some were not amused with the removal termed ‘loss’ of arguably her most personal song. Others immediately argue the implications for music further afield on various social media sites: Could an artist afford to apply any influences around the world, but on judgment of this, aren’t the artists actually tentative to cross cultural boundaries?
Universal Music has already announced plans to appeal, insisting the distinction between inspiration and infringement isn’t always black and white. This case raises uncomfortable but essential questions about pop music and its relationship with global traditions. Certainly, artists like Adele repeatedly create music that pulls across various influences and connects audiences from all over the world, and it’s here that they are supposed to know how to draw the line.
With this ruling, a critical point has been reached that makes samba recognize their melodies as powerful, important, and worthy of protection. For now, fans of Adele and samba alike are left reflecting on the delicate balance between artistic expression and cultural respect. The debate may just be beginning, but one thing is clear: this case has struck a chord far beyond the courtroom.
