GlobÃÂ°lizÃÂ°tion by Brazilian Singers
Globalization by Brazilian Singers
The impact of the Brazilian music has been noted down by the millions around the world. From being a country of nowhere, now it is competing with the world's best industries in terms of mass media. Over the years there have been many singers that became the cornerstone in the industry. But the diverse writers represented in this compilation explore what the editors identify as increased exposure to musical products and cultural styles from abroad has generated an ever-expanding panoply of hybrids without necessarily effacing more traditional styles, perhaps even encouraging them. Charles A. Perrone's and Christopher Dunn's opening essay is a riff on Chiclete com banana--a playful tune about mixing U.S. and Brazilian styles--as song, lyrics and manifesto that synthesizes the dynamics of global musical interaction.
A history of domestic and foreign (mostly U.S.) interplay, the essay traces the growth of Brazilian popular genres from samba through bossa nova, Tropicalia, MPB, lambada and blocos afro, to current fusions, setting the stage for the essays that follow it.
The first of these is singer/songwriter Caetano Veloso's brief piece Carmen Mirandadada, in which he explores the contradictions as well as the triumphs of the not-quite-Brazilian, not-quite Bahian chanteuse's career and her reception in Brazil. Punning on the word shame in Portuguese, Veloso succinctly concretizes the love-hate relationship between Brazilians and their sexy, fruit-donning default representative. Perrone's essay compares the artistic heritage and genesis of the film Black Orpheus with those retelling (not remake) Orfeu. Perrone's detailed accounts of creative struggles and compromise illuminate the web of relationships among these films and their sources while characterizing the urgent desire to appropriate Carnaval rhythms and symbolisms. An appendix of lyrics from both films supplements the essay
Dunn's essay focuses on the careers of...