When Brazil Got the Blues: The Diffusion of Blues in Brazil
Barra lateral de artigos
Publicado:
Feb 18, 2022
Palavras-chave:
Brazil, blues, Blues Etílicos, globalization, music geography
Conteúdo do artigo principal
Resumo
O foco aqui é compreender e examinar o fenômeno da introdução do blues como gênero musical no Brasil (1985-1992), nunca antes estudado. Ao destacar os processos de globalização, e da banda de blues carioca Blues Etílicos, pergunto: quais foram os espaços, lugares e locais que ajudaram a disseminar o blues pelo Brasil? De que maneira um gênero de base afro-americana é adotado e popularizado por brancos urbanos de classe alta e média no Brasil? Para responder a essas perguntas, examino cenários políticos e culturais, o fim da ditadura militar no Brasil em 1985, que coincidiu com um grande festival de rock brasileiro, “Rock in Rio,” e o primeiro festival de blues do Brasil em Ribeirão Preto em 1989. Este artigo acrescenta à literatura acadêmica do blues e da geografia da música, observando as discussões em andamento sobre as mudanças nas paisagens políticas, culturais e musicais do Brasil.
Detalhes do artigo
Como Citar
Marcus, A. P. (2022). When Brazil Got the Blues: The Diffusion of Blues in Brazil. Brasiliana: Journal for Brazilian Studies, 10(2). https://doi.org/10.25160/bjbs.v10i2.125517
Seção
General Articles
Articles published in Brasiliana are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Referências
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Alderman, J. (2001). Sonic Boom. Napster, MP3, and the New Pioneers of Music. Foreword by E. I. Schwartz, Preface by H. Hancock. Cambridge, Massachusetts: Perseus Publishing.
Bellos, A. (2005). ‘Baile funk might be the most exciting music in the world - it certainly comes from one of its most dangerous places.’ The Guardian, September 17, https://www.theguardian.com/music/2005/sep/18/brazil.popandrock (Accessed March 20, 2020).
Big Allambik (2020). Available at: https://www.allmusic.com/artist/big-allanbik-mn0001402419 (Accessed March 20, 2020).
Blues’n’ Jazz Brasil (2020), https://bluesnjazz.com.br/web/ (Accessed March 20, 2020).
Brandellero, A. M. C., and Pfeffer, K., (2011). Multiple and Shifting Geographies of World Music Production. Area, 43 (4), p.495-505.
Brazilian Federal Government. Presidency of the Republic of Brazil (2020a). ‘Brazilian music market grew 18% after ten years of recession,’ http://www.brazil.gov.br/arts-culture/music/brazilian-music-market-grew-18-after-ten-years-of-recession (Accessed March 20, 2020).
Brazilian Federal Government. Presidency of the Republic of Brazil (2020b). ‘Brazil has Festivals for All Tastes.’ http://www.brazil.gov.br/arts-culture/music/Brazil-has-festivals-for-all-tastes-Check-out-a-few-highlights (Accessed March 20, 2020).
Brocken, M. (2003). The British Folk Revival 1944-2002. London: Ashgate.
Calado, C. (1991). ‘Veteranos criticam blueseiros oportunistas.’ Folha de São Paulo, December 20, 1991, 3.
Connell, J. and Gibson, C. (2003). Sound Tracks. Popular Music, Identity and Place. London & NY: Routledge.
Dunn, C. (2001). Brutality Garden: Tropicalia and the Emergence of a Brazilian Counterculture. Chapel Hill: The University of North Carolina Press.
Ford, L. (1971). Geographic Factors in the Origin, Evolution, and Diffusion of Rock and Roll Music. Journal of Geography, (70)8, p.455-464.
Frame, P. (2007). The Restless Generation. How Rock Music Changed the Face of 1950s Britain. London: Rogan House.
Gioia, T. (2008). Delta Blues: The Life and Times of the Mississippi Masters who Revolutionized American Music. NY: W.W. Norton and Company.
Giron, L. C. (1991). ‘Bluesboys invadem MPB, roubam espaço do rock e viram moda de verão.’ Folha de São Paulo, December 20, 1991, 1.
Goldsmith, M. U. D. and Fonseca, A. J. (Eds.) (2019). Hip Hop Around the World: An Encyclopedia. Santa Barbara, California, and Denver, Colorado: Greenwood.
Grossberg, L. (1992). We Got to Get Out of This Place: Popular Conservatism and Postmodern Culture. NY: Routledge.
IFPI (2020). ‘Representing the Recording Industry Worldwide, Brazil: A top performing market.’ Accessed March 20, 2020, https://www.ifpi.org/brazil.php and https://www.ifpi.org/consumer-research.php (Accessed March 20, 2020).
Johansson, O. and Bell, T. L. (2009). Sound, Society and the Geography of Popular Music. Surrey, UK: Ashgate.
Júnior, E. M. (2009). ‘Mandinga Blues.’ Available at: https://mandingablues.wordpress.com/o-blues-no-brasil/ (Accessed March 20, 2020).
Kruse, H. (2003). Site and Sound: Understanding Independent Music Scenes. NY: Peter Lang.
Kruse, H. (2010). ‘Local Identity and Independent Music Scenes, Online and Off.’ Popular Music and Society, 33(5), p.625-639.
Lima, E. S. (1989). ‘Com Blues na Veia.’ Jornal do Brasil, April 14, 1.
Making a Scene, The Independent Music Magazine (2020). ‘Selling the Blues’ first published on August 28, 2015, Available at: https://www.makingascene.org/selling-the-blues/ (Accessed March 20, 2020).
Mandinga Blues (2020). Available at: https://mandingablues.wordpress.com (Accessed March 20, 2020).
Marcos Ottaviano (2020). Available at: https://www.marcosottaviano.com.br/ (Accessed March 20, 2020).
Marcus, A. P. (2020). Skiffle in the U.K.: The Indigenization of a Musical Genre. Journal of Cultural Geography 37 (2), p. 216-235.
Marcus, A. P. (2013). Sex, Color, and Geography: Racialized Relations in Brazil and its Predicaments. Annals of the Association of American Geographers 103(5), p.1282-1299.
McCann, B. (2007). Blues and Samba: Another Side of Bossa Nova History. Luso-Brazilian Review, (2), p.21-49.
Mello, J. (2012). ‘The Brazilian Music Industry. The Brazil Business.’ November 21, 2012. Available at: https://thebrazilbusiness.com/article/the-brazilian-music-industry (Accessed March 20, 2020).
Mississippi Delta Blues Festival, Caxias do Sul, Rio Grande do Sul (2020). Available at: https://mdbf.com.br (Accessed March 20, 2020).
Moreira, M. (2013). ‘A voz do blues carioca foi embora – um adeus a Ricardo Werther.” Estado de São Paulo, February 19, 2013. Available at: https://cultura.estadao.com.br/blogs/combate-rock/a-voz-do-blues-carioca-foi-embora-um-adeus-a-ricardo-werther/ (Accessed, March 20, 2020).
Nuno Mindelis. (2020). Available at: http://nunomindelis.com.br/v2/bio/ (Accessed, March 20, 2020).
Obvious Magazine (2016). ‘Blues no Brasil.’ Available at: http://obviousmag.org/viver_a_deriva_e_sentir_que_tudo_esta_bem/2016/blues-no-brasil.html (Accessed March 20, 2020).
O Globo. (2012). ‘Morre músico Celso Blues Boy aos 56 Anos.’ O Globo, August 6, 2012. https://oglobo.globo.com/cultura/morre-musico-celso-blues-boy-aos-56-anos-5702995. (Accessed March 20, 2020).
Palmer, R. (1981). Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. NY: Penguin.
Perrone, C. A. and C. Dunn (2002). ‘Chiclete com Banana’: Internationalization in Brazilian Music.’ In Brazilian Popular Music & Globalization, C. A. Perrone and C. Dunn (eds), pp.1-38. 2002. NY: Routledge,
Perrone, C. A. and Dunn C. (Eds.) (2002). Brazilian Popular Music & Globalization. NY: Routledge.
Poiger, U. G. (2000). Jazz, Rock and Rebels. Cold War Politics and American Culture in a Divided Germany. Berkeley: University of California Press.
Strait, J. B., and Fujimoto-Strait, A. R. (2017). ‘The Impact of Multi-Layered Diffusionary Processes on Musical Evolution: The Global Nature, and Hawaiian, Spanish and African Roots of Delta Music Culture.’ European Scientific Journal, October 2017, Special Edition, p.257-276.
Stratton, J., (2010). ‘Skiffle, Variety and Englishness.’ In Britpop and the English Music Tradition, pp. 27-40, A. Bennett and J. Stratton, Eds., Surrey, U.K.: Ashgate.
Stroud, S. (2016) [2008]. The Defence of Tradition in Brazilian Popular Music. Politics, Culture and the Creation of Música Popular Brasileira. NY: Routledge.
Terra Blues. (2020). ‘Blues Publications.’ Available at: https://www.terrablues.com/bluespublications.html (Accessed March 20, 2020).
The Blues Foundation (2020). Available at: https://blues.org/affiliate-map (Accessed March 20, 2020).
The Blues Foundation (2020). Memphis, Tennessee, Available at: https://blues.org/about/#mission (Accessed March 20, 2020).
Urban, M. with A. Evdokimov (2004). Russia Gets the Blues: Music, Culture, and Community in Unsettled Times. Ithaca and London: Cornell University Press.
Wallach, J., H. M. Berger, and Greene, P. D. (eds) ( 2011). Metal Rules the Globe. Heavy Metal Music Around the World. Durham: North Carolina, Duke University Press.
Zantige, A. (2015). ‘Not the same old blues. Brazil gets the blues in its own, unique way.’ Wall Street International Magazine. March 14, 2015. https://wsimag.com/entertainment/13725-not-the-same-old-blues (Accessed March 20, 2020).
Alderman, J. (2001). Sonic Boom. Napster, MP3, and the New Pioneers of Music. Foreword by E. I. Schwartz, Preface by H. Hancock. Cambridge, Massachusetts: Perseus Publishing.
Bellos, A. (2005). ‘Baile funk might be the most exciting music in the world - it certainly comes from one of its most dangerous places.’ The Guardian, September 17, https://www.theguardian.com/music/2005/sep/18/brazil.popandrock (Accessed March 20, 2020).
Big Allambik (2020). Available at: https://www.allmusic.com/artist/big-allanbik-mn0001402419 (Accessed March 20, 2020).
Blues’n’ Jazz Brasil (2020), https://bluesnjazz.com.br/web/ (Accessed March 20, 2020).
Brandellero, A. M. C., and Pfeffer, K., (2011). Multiple and Shifting Geographies of World Music Production. Area, 43 (4), p.495-505.
Brazilian Federal Government. Presidency of the Republic of Brazil (2020a). ‘Brazilian music market grew 18% after ten years of recession,’ http://www.brazil.gov.br/arts-culture/music/brazilian-music-market-grew-18-after-ten-years-of-recession (Accessed March 20, 2020).
Brazilian Federal Government. Presidency of the Republic of Brazil (2020b). ‘Brazil has Festivals for All Tastes.’ http://www.brazil.gov.br/arts-culture/music/Brazil-has-festivals-for-all-tastes-Check-out-a-few-highlights (Accessed March 20, 2020).
Brocken, M. (2003). The British Folk Revival 1944-2002. London: Ashgate.
Calado, C. (1991). ‘Veteranos criticam blueseiros oportunistas.’ Folha de São Paulo, December 20, 1991, 3.
Connell, J. and Gibson, C. (2003). Sound Tracks. Popular Music, Identity and Place. London & NY: Routledge.
Dunn, C. (2001). Brutality Garden: Tropicalia and the Emergence of a Brazilian Counterculture. Chapel Hill: The University of North Carolina Press.
Ford, L. (1971). Geographic Factors in the Origin, Evolution, and Diffusion of Rock and Roll Music. Journal of Geography, (70)8, p.455-464.
Frame, P. (2007). The Restless Generation. How Rock Music Changed the Face of 1950s Britain. London: Rogan House.
Gioia, T. (2008). Delta Blues: The Life and Times of the Mississippi Masters who Revolutionized American Music. NY: W.W. Norton and Company.
Giron, L. C. (1991). ‘Bluesboys invadem MPB, roubam espaço do rock e viram moda de verão.’ Folha de São Paulo, December 20, 1991, 1.
Goldsmith, M. U. D. and Fonseca, A. J. (Eds.) (2019). Hip Hop Around the World: An Encyclopedia. Santa Barbara, California, and Denver, Colorado: Greenwood.
Grossberg, L. (1992). We Got to Get Out of This Place: Popular Conservatism and Postmodern Culture. NY: Routledge.
IFPI (2020). ‘Representing the Recording Industry Worldwide, Brazil: A top performing market.’ Accessed March 20, 2020, https://www.ifpi.org/brazil.php and https://www.ifpi.org/consumer-research.php (Accessed March 20, 2020).
Johansson, O. and Bell, T. L. (2009). Sound, Society and the Geography of Popular Music. Surrey, UK: Ashgate.
Júnior, E. M. (2009). ‘Mandinga Blues.’ Available at: https://mandingablues.wordpress.com/o-blues-no-brasil/ (Accessed March 20, 2020).
Kruse, H. (2003). Site and Sound: Understanding Independent Music Scenes. NY: Peter Lang.
Kruse, H. (2010). ‘Local Identity and Independent Music Scenes, Online and Off.’ Popular Music and Society, 33(5), p.625-639.
Lima, E. S. (1989). ‘Com Blues na Veia.’ Jornal do Brasil, April 14, 1.
Making a Scene, The Independent Music Magazine (2020). ‘Selling the Blues’ first published on August 28, 2015, Available at: https://www.makingascene.org/selling-the-blues/ (Accessed March 20, 2020).
Mandinga Blues (2020). Available at: https://mandingablues.wordpress.com (Accessed March 20, 2020).
Marcos Ottaviano (2020). Available at: https://www.marcosottaviano.com.br/ (Accessed March 20, 2020).
Marcus, A. P. (2020). Skiffle in the U.K.: The Indigenization of a Musical Genre. Journal of Cultural Geography 37 (2), p. 216-235.
Marcus, A. P. (2013). Sex, Color, and Geography: Racialized Relations in Brazil and its Predicaments. Annals of the Association of American Geographers 103(5), p.1282-1299.
McCann, B. (2007). Blues and Samba: Another Side of Bossa Nova History. Luso-Brazilian Review, (2), p.21-49.
Mello, J. (2012). ‘The Brazilian Music Industry. The Brazil Business.’ November 21, 2012. Available at: https://thebrazilbusiness.com/article/the-brazilian-music-industry (Accessed March 20, 2020).
Mississippi Delta Blues Festival, Caxias do Sul, Rio Grande do Sul (2020). Available at: https://mdbf.com.br (Accessed March 20, 2020).
Moreira, M. (2013). ‘A voz do blues carioca foi embora – um adeus a Ricardo Werther.” Estado de São Paulo, February 19, 2013. Available at: https://cultura.estadao.com.br/blogs/combate-rock/a-voz-do-blues-carioca-foi-embora-um-adeus-a-ricardo-werther/ (Accessed, March 20, 2020).
Nuno Mindelis. (2020). Available at: http://nunomindelis.com.br/v2/bio/ (Accessed, March 20, 2020).
Obvious Magazine (2016). ‘Blues no Brasil.’ Available at: http://obviousmag.org/viver_a_deriva_e_sentir_que_tudo_esta_bem/2016/blues-no-brasil.html (Accessed March 20, 2020).
O Globo. (2012). ‘Morre músico Celso Blues Boy aos 56 Anos.’ O Globo, August 6, 2012. https://oglobo.globo.com/cultura/morre-musico-celso-blues-boy-aos-56-anos-5702995. (Accessed March 20, 2020).
Palmer, R. (1981). Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. NY: Penguin.
Perrone, C. A. and C. Dunn (2002). ‘Chiclete com Banana’: Internationalization in Brazilian Music.’ In Brazilian Popular Music & Globalization, C. A. Perrone and C. Dunn (eds), pp.1-38. 2002. NY: Routledge,
Perrone, C. A. and Dunn C. (Eds.) (2002). Brazilian Popular Music & Globalization. NY: Routledge.
Poiger, U. G. (2000). Jazz, Rock and Rebels. Cold War Politics and American Culture in a Divided Germany. Berkeley: University of California Press.
Strait, J. B., and Fujimoto-Strait, A. R. (2017). ‘The Impact of Multi-Layered Diffusionary Processes on Musical Evolution: The Global Nature, and Hawaiian, Spanish and African Roots of Delta Music Culture.’ European Scientific Journal, October 2017, Special Edition, p.257-276.
Stratton, J., (2010). ‘Skiffle, Variety and Englishness.’ In Britpop and the English Music Tradition, pp. 27-40, A. Bennett and J. Stratton, Eds., Surrey, U.K.: Ashgate.
Stroud, S. (2016) [2008]. The Defence of Tradition in Brazilian Popular Music. Politics, Culture and the Creation of Música Popular Brasileira. NY: Routledge.
Terra Blues. (2020). ‘Blues Publications.’ Available at: https://www.terrablues.com/bluespublications.html (Accessed March 20, 2020).
The Blues Foundation (2020). Available at: https://blues.org/affiliate-map (Accessed March 20, 2020).
The Blues Foundation (2020). Memphis, Tennessee, Available at: https://blues.org/about/#mission (Accessed March 20, 2020).
Urban, M. with A. Evdokimov (2004). Russia Gets the Blues: Music, Culture, and Community in Unsettled Times. Ithaca and London: Cornell University Press.
Wallach, J., H. M. Berger, and Greene, P. D. (eds) ( 2011). Metal Rules the Globe. Heavy Metal Music Around the World. Durham: North Carolina, Duke University Press.
Zantige, A. (2015). ‘Not the same old blues. Brazil gets the blues in its own, unique way.’ Wall Street International Magazine. March 14, 2015. https://wsimag.com/entertainment/13725-not-the-same-old-blues (Accessed March 20, 2020).