Music, Mixing and Modernity in Rio de Janeiro

Moehn, Frederick

doi:10.1080/17411910802283983

Cited by 13 publications

(2 citation statements)

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“…Later, in Rio de Janeiro, he played this rendition for his friend Fernanda Abreu, a musician known for her mixtures of samba with funk, rock, disco and pop (see Moehn 2008). While there, Pacheco explored the holdings at the National Radio archives and came across Lando's 'Angolano segue em frente' (sometimes referred to as 'Angolé', a colloquialism for 'Angolan').…”

Section: Introductionmentioning

confidence: 99%

“…He secured a digital copy of the master tape (the ‘L-R’, for left and right channels) and created a remix of it for a television program Maianga produced in Angola. Later, in Rio de Janeiro, he played this rendition for his friend Fernanda Abreu, a musician known for her mixtures of samba with funk, rock, disco and pop (see Moehn 2008). She identified intensely with it and felt that it spoke to Brazilian realities (Interview, 9 August 2007, Rio de Janeiro), so she altered the references to Angola in the lyrics and recorded her own version, renaming it ‘Brasileiro’ (Brazilian).…”

Section: Introductionmentioning

confidence: 99%

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New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers

Moehn

2011

Pop. Mus.

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This article considers emergent musical dialogues and official cultural collaborations between Brazil and Angola in light of recent literature theorizing the Lusophone Atlantic. As Angola restructures following a long civil war and Brazil takes a leading role among the rapidly developing BRIC nations, new questions arise pertaining to the African heritage in Brazilian music, and to Brazil's role in Angolan cultural initiatives and musical markets. Through examination of Brazilian discourse about such exchanges, combined with a comparative analysis of three versions of Angolan musician Teta Lando's 1974 song, 'Angolano segue em frente' (Landos original, a recent Brazilian rerecording, and a Brazilian remix), I reveal a South-South dialogue that builds on historical connections yet also establishes new resonances in musical evocations of Atlantic affinities and flows.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers

Moehn

2011

Pop. Mus.

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From Rio to São Paulo: Shifting Urban Landscapes and Global Strategies for Brazilian Music

Goldschmitt

2018

Sounds and the City

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You need to go to São Paulo," Marcela Boechat of Dubas Música told me in 2007. She and I were meeting in Dubas's offices in the Centro district of Rio de Janeiro and she urged me, "If you really want to know about how the Brazilian music industry is responding to changes in global distribution, talk to the record companies in São Paulo." I had been running around Rio de Janeiro for months, interviewing funcionários (industry workers) to find out how they were responding to changes in the international demands for Brazilian music. At the time, I had good reason to focus my research on Rio de Janeiro. For much of the 20 th century, Rio was the locus of Brazil's most celebrated musical developments and the birthplace of the country's music industry. Urban samba, a genre that developed in the late nineteenth and early twentieth century through a mixture of Afro-Brazilian styles with cosmopolitan genres such as polka and tango, famously solidified in the city's Praça Onze neighborhood. 1 By the 1930s, dictator Getúlio Vargas coopted samba and it became the official musical style of the country. Bossa nova later developed in the city's richest beachside neighborhoods in the South Zone before it became one of the most popular styles of the 1960s. To date, many of the country's most celebrated musical stars have lived there. 2 While Rio's place in Brazil's national narrative is far from limited to music, 3 it is the city's musical life that the government regularly touts to tourists; the country repeatedly celebrates Rio as having the best carnival celebrations, and the international airport is named after Antônio Carlos Jobim, the world famous bossa nova composer. From this perspective, the record industry in São Paulo (or any other Brazilian city, for that matter) has for the most part escaped the attention of casual observers and scholars. 4 Yet, by all accounts, the music scene in São Paulo was becoming a hotbed of creative energy and the city was soon the subject of music press attention, nationally and internationally. 5 As I soon learned, the emerging international visibility of the music scene in São Paulo is part of larger strategic changes among independent record labels after years of uncertainty and reorganization. Brazil's international reputation has been in flux ever since the early 2000s. For much of the 20 th century, Brazil and Rio de Janeiro were synonymous in international discourse. Yet, as the country began to court investors and tout its economic strength, São Paulo began to compete with Rio for the limelight. At the height of the Lula (Luiz Inácio Lula da Silva) administration (2002-2010), Brazil was changing how it positioned itself in the world. When I first arrived in São Paulo in 2008, I witnessed the beginning of a geographic reordering of the interconnections between new music scenes and cultural policy in that city. By the time Brazil was preparing the host the 2014 FIFA World Cup and the 2016 Summer Olympics, those changes had solidified. nation brand, has been contested for quite some tim...

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Bossa Mundo

Goldschmitt¹

2019

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Bossa Mundo chronicles how Brazilian music has been central to Brazil’s national brand in the United States and the United Kingdom since the late 1950s. Scholarly texts on Brazilian popular music generally focus on questions of music and national identity, and when they discuss the music’s international popularity, they keep the artists, recordings, and live performances as the focus, ignoring the process of transnational mediation. This book fills a major gap in Brazilian music studies by analyzing the consequences of moments when Brazilian music was popular in Anglophone markets, with a focus on the media industries. With subject matter as varied as jazz, film music, dance fads, DJ/remix culture, and new models of musical distribution, the book demonstrates how the mediation of Brazilian music in an increasingly crowded transnational marketplace has had lasting consequences for the creative output celebrated by Brazil as part of its national brand. Through a discussion of the political meaning of mass-mediated music in chronologically organized chapters, the book shifts the scholarly focus on the music’s transnational popularity from the scholarly framework of representing Otherness to broader considerations of a media environment where listeners and intermediaries often have differing priorities. The book provides a new model for studying music from culturally rich countries in the Global South where local governments often leverage stereotypes in their national branding project.

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Music, Mixing and Modernity in Rio de Janeiro

Cited by 13 publications

References 18 publications

New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers

New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers

From Rio to São Paulo: Shifting Urban Landscapes and Global Strategies for Brazilian Music

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