“The Space, the Gear, and Two Big Cans of Beer”: Fora do Eixo and the Debate over Circulation, Remuneration, and Aesthetics in the Brazilian Alternative Market

Garland, Shannon

doi:10.1111/jpms.12005

Cited by 8 publications

(3 citation statements)

References 11 publications

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“…FdE and Recalculando had fervent advocates, such as Assumção and British independent music network UnConvention. 30 It should be underlined, however, that the Brazilian network also generated a growing wave of polemics from grassroots and academic sectors (e.g., Garland 2012;Miseravel 2013). Nevertheless, such programmes were calibrated to the challenges and opportunities facing the independent music sphere in countries where the internet was conceived as functioning more effectively in fostering social networks than in selling digital content or services, and where governments placed more emphasis on digital inclusion than e-commerce.…”

Section: Argentina In Regional Contextmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of-and advancement of-theories of mediation.' -Jonathan Sterne, Communication Studies and Art History, McGill University 'This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.' -David Hesmondhalgh, Media and Communication, University of Leeds 'Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.'

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Section: Argentina In Regional Contextmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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“…Ironically, As Shannon Garland (2012) 3 na Massa exemplifies transregional and transnational musical approaches that are increasingly common in São Paulo's new music industry. While these approaches to language, style, and urbanity indicate the change in status for the music coming from São Paulo, they only represent one major slice of how the Brazilian music industry is changing away from the popular music that has defined Brazil for much of the last century as part of its brand.…”

Section: The Connections Between São Paulo and Other Influential And mentioning

confidence: 99%

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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“…Considerando-se as peculiaridades das organizações culturais e criativas é possível perceber que suas atividades fogem à lógica do mercado, tanto pelos conteúdos produzidos quanto pelas características dos seus produtores (GARLAND, 2012). Assim, analisando-se estas organizações é possível fazer uma analogia com os espaços concebidos por Ramos (1981) como isonomias e fenonomias.…”

Section: Cultura Mercado E Estadounclassified

Cultura, estado e mercado: uma análise da representação de economia criativa no Anexo I do Plano da Secretaria da Economia Criativa

Neutgem

Dellagnelo

2016

PCR

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Esse trabalho consistiu na análise de 12 artigos presentes no Anexo I do Plano da Secretaria da Economia Criativa, por meio da Análise Crítica do Discurso, de Fairclough (2001, 2003), e dos princípios de organizações isonômicas e fenonômicas, de Ramos (1981), com o objetivo de identificar a representação de economia criativa nesse corpus. De modo geral, embora haja ocorrências de uma perspectiva substantiva em relação ao tema, a ideia de organização predominante é a de empresa e há uma valorização das suas práticas e princípios como orientadores da economia criativa.

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“The Space, the Gear, and Two Big Cans of Beer”: Fora do Eixo and the Debate over Circulation, Remuneration, and Aesthetics in the Brazilian Alternative Market

Cited by 8 publications

References 11 publications

:Music and Digital Media: A Planetary Anthropology

:Music and Digital Media: A Planetary Anthropology

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

Cultura, estado e mercado: uma análise da representação de economia criativa no Anexo I do Plano da Secretaria da Economia Criativa

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