Synopses & Reviews
In 1998 the journalist Mário Marques coined the music made by a group of musicians based mostly in the middle-class neighborhoods of Rio de Janeiro’s South Zone música popular carioca (MPC). The designation riffed on música popular brasileira (MPB), a label associated with major figures of urban Brazilian popular song from the mid–1960s through the 1970s. At the same time, it incorporated the term “Carioca,” a reference to someone or something from Rio. In Contemporary Carioca, the ethnomusicologist Frederick Moehn focuses on a small but influential cohort of MPC artists: Marcos Suzano, Lenine, Pedro Luís, Fernanda Abreu, and Paulinho Moska. Moehn spent many hours in recording studios and he interviewed musicians, producers, audio engineers, and industry personnel. Those conversations illuminate the inseparability of race, gender, class, place, national identity, and expressive practice in the MPC scene, and their entanglement in local discourses about technology and the aesthetics of mixture. Moehn emphasizes that musical mixture is not only intertwined with nationalist discourses of miscegenation but also with ideas about being middle-class in liberalizing Brazil. Contemporary Carioca introduces a generation of musicians who have revised key Brazilian genres, such as samba and maracatu, while adapting international influences such as rock, techno, and funk to local culture.
Musica popular brasileira (MSB) emerged in Brazil in the mid-1970s. This popular genre has not received the critical attention in the U.S. given to its predecessors: samba, bossa nova, and tropicalia. This collection forms portraits of these stars and offers insights into their concern to balance Brazilian and foreign elements in their music.
Brazilian popular music is widely celebrated for its inventive amalgams of styles and sounds. Cariocas, native residents of Rio de Janeiro, think of their city as particularly conducive to musical mixture, given its history as a hub of Brazilian media and culture. In Contemporary Carioca, the ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who collaboratively have reinvigorated Brazilian genres, such as samba and maracatu, through juxtaposition with international influences, including rock, techno, and funk. Moehn highlights the creativity of individual artists, including Marcos Suzano, Lenine, Pedro Luandiacute;s, Fernanda Abreu, and Paulinho Moska. He describes how these artists manage their careers, having reclaimed some control from record labels. Examining the specific meanings that their fusions have in the Carioca scene, he explains that musical mixture is not only intertwined with nationalist discourses of miscegenation, but also with the experience of being middle-class in a country confronting neoliberal models of globalization. At the same time, he illuminates the inseparability of race, gender, class, place, national identity, technology, and expressive practice in Carioca music and its making. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
The ethnomusicologist Frederick Moehn introduces a generation of Rio-based musicians who build on the mand#250;sica popular brasileira (MPB) of previous decades, but who have yet to receive scholarly attention. This generation, the "children of the dictatorship," reinvigorated Brazilian genres such as samba and maracatu through juxtaposition with international influences, including rock, techno, and funk. Moehn offers vivid depictions of Rio musicians as they creatively combine and reconcile local realities with global trends and exigencies.
About the Author
Frederick Moehn is a Research Associate at the Institute for Ethnomusicology–Music and Dance of the Universidade Nova de Lisboa in Portugal.
Table of Contents
List of Illustrations ix
1. Marcos Suzano: A Carioca Blade Runner 25
2. Lenine: Pernambuco Speaking to the World 55
3. Pedro Luand#237;s and the Wall: Tupy Astronauts 92
4. Fernanda Abreu, Garota Carioca 130
5. Paulinho Moska: Difference and Repetition 167
6. On Cannibals and Chameleons 204
Appendix 1: About the Interviews, with a List of Interviews Cited 211
Appendix 2: Introductory Aspects of Marcos Suzano's Pandeiro Method 215