59

Br azilianPopular Music:AnAnthr opologicalIntr oduction(Par tIII)

RafaelJ osdeMenezesBastos
2003
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BrazilianPopularMusic:AnAnthropologicalIntroduction(PartIII)*

RafaelJosdeMenezesBastos**

TheTwentiethCentury

TheSecondHalf(continued):The1960's1990's

1960's1970's

WhenBrazilenteredthe1960's,itspopularmusicformedatrueplanet.Thisresulted
fromwhatcumulativelyhappenedinthe1950's,whichsowerenotsobad.Assaid,they
werethetimeofbirthofBossaandbaioandofupdatingofOldGuardmusic,involving
sambaandchoroasgenresfortheentireyear.Bossaconsolidateditselfduringthe1960's
alsothroughitsdissidence,"CanodeProtesto"("ProtestSong") andhasshownupto
nowtohaveagreatperennialty(Castro2001,Tvola1998).Astobaioandallthegreat
varietyofgenreswithaNortheasternorigin asxote,emboladaandothers whichafter
haspassedtobeidentifiedundertheumbrellaof forr,alsotheyhavereachedvigorously
thepresent(Ramalho2000,Dreyfus1996,Teles2000,Vieira2000).Thesamehas
happenedwiththeuniverseofOldGuard(Cazes1998:141146,Livingston1999)and
othergenresalreadyintegratingBrazilianpopularmusicbackbones,i.e.,Caipira&
Sertanejamusic(Oliveira2004),bolero&sambacano(Arajo1999),frevo(Teles
2000)andothers.Sothereferredbackbonesarrivedatthe1960'sricherandmuchmore
diversethantheywerebefore,andsimultaneouslyexhibitingastrongsenseofunityand
solidity.

*
Thisisthepreprintversionofthethirdpartofmycontributiontothesecondvolumeofthe International
EncyclopediaofthePopularMusicoftheWorld (JohnShepherdetalli,ed.,London:MansellPublishing
Ltd).AllanPauladeOliveiraistheauthorofboththe Discography andDiscographicalReferences,which
refertothethreepartsofthework.ThankstoAllanforhissuperbwork.ThanksalsotoMaizadeLavenre
BastosforherkindassistanceinEnglish.ThoughIamtheonlyresponsibleforthetext.
**
DepartmentofAnthropology,FederalUniversityofSanta Catarina,Florianpolis,SC,Brazil(
rafael@cfh.ufsc.br).
The1960'sand1970'sstrengthenedthispictureprofoundly,particularlyfrom1964on,
withthegrowinglystrongerinterventionofthestateinthecommunicationssector
promotedbythemilitaryregime.Thentelevisionpassedtohaveaneachtimegreater
importanceinthecountry,whathadseriousimpactsinthedivertissementsector,
includingtherecordingindustry(Ortiz1988,Morelli1991,Dias2000).Televisionwas
launchedinBrazilin1950,crossingthe1950'sasalocalmeanslimitedtothecities
wherethereexistedstations,particularlySoPauloandRiodeJaneiro.In1960,video
tapebeguntobeused,turningitpossiblethatliveprogramscouldbediffusedinother
localeswheretheyhadnotbeenproduced. Alsoin1960,throughmicrowave,television
integratedRiodeJaneiro,SoPaulo,BeloHorizonte,BrasliaandGoinia.This
integrationgrowinglyreachedothercitiesandtownstowardtheformationofeachtime
moreencompassingnetworks.Asthemilitarycouphadasstrategicfinalitytotransform
Brazilintoaconsumesociety basedinmonopolistaccumulation(Ortiz1988),the
governmenttookconsequentialmeasurestomakeiteasiertheimportationofelectronic
equipmentsandcomponentsbyTVstationsandfactoriesofTVapparatuses(Lordo,
2000:60).In1969,thefirstTVnetworktransmissionbysatellitewasmade,whatwas
generalizedduringthe1970's.In1970,theproductionofTVapparatusesreached860
thousandsunities,whatturneditunnecessarytheirimportation.Astoadvertising,already
in1968televisionconcentrated44.5%ofallthenationalinvestmentinthesector(Ortiz
1988:128130).Astothedimensionsofthenetworks,bythemiddleofthe1970'sthey
weresobigthatsmalltownsofthecountrysidewereincludedinit(Milanesi1978).Also
therecordingindustry involvingLPs,singleanddoublecompactsandcassettetapes as
wellasthatofhomediscplayersgrewvigorously.Thishastransformedthecountryinto
oneofthelargestphonographicmarketintheworld,fromtheendofthe1970'son
(Morelli1991,Dias2000,MenezesBastos1999).

Simultaneously,themilitaryregime particularlyfrom1968onwiththeeditionof"AI
5" mountedapowerfulsystemofpoliticalideologicalcontrolofculturalproduction.
Thiswasbasednotonlyonrepression,expressedbyadraconiancensorshipofeverything
that beingpertinenttothefieldsofcultureandarts couldreachthepublic,especially
lyricsofsongs(veryrarelytheirmusicthemselves),books,magazinesandothersimilar
items.Beingalsoconstitutive,thereferredsystemofcontrolalsohadasitssupportthe
foundationofpublicstationsofTV ortheinterventiononprivateones towardthe
productionofculturalandartisticworkswhichcouldpositivelysatisfythesocalled
"DoutrinadeSeguranaNacional"("NationalSecurityDoctrine"),apervasivecorpus of
ideologydesignedbyrightwingintellectuals,typicallythoselinkedtothe"Escola
SuperiordeGuerra"("WarSuperiorCollege")[Comblin1980,Ortiz1988].

Asaresultofallthat,popularmusic,whichhadvanguard,irreverenceandrebellionasits
morestrongrhetoricmarksinBrazilduringthemiddleandlate1960's particularly
through"CanodeProtesto","Tropicalismo","ClubedeEsquina"and"JovemGuarda"
("YoungGuard"), enteredthe1970'sdominatedbyconstraint.Thishadasconsequence
theexileofsomeofitsmajormembers:GeraldoVandr(nicknameofsinger,songwriter
GeraldoPedrosadeA.DiasParaba1935),CaetanoVeloso(singer,songwriter,
essayistSalvador1942),GilbertoGil(singer,songwriter,guitaristSalvador1942),
Chico(nicknameofsinger,songwriter,novelistFranciscoBuarquedeHollandaRio
1944])andMiltonNascimento(singer,songwriter,guitaristRio,1942).Vandr,the
greatestnameof "CanodeProtesto",duetopersecutionandcensorshipexiledhimself
initiallyinChile,livinginmanycountriesafter(19681982[seeMarcondes,ed.:8045]).
Thefollowingtwo,leadersof"Tropicalismo",wereimprisonedbythemilitaryandhad
toleavethecountry,movingtoEnglandwheretheylivedduring196970.Chico,
althoughnotputinjailbytheregime,sufferedasostrongcensorshipthathadtomove
abroad,toItaly(196970).Nascimento,theleaderof"ClubedeEsquina",movedtothe
UnitedStates(196869).

Itisnotthecaseofconstructingthe1970'sasanotheruglyducklingofBrazilianpopular
music,dominatedbydilutionandthealike.Muchtothecontrary,thedecadeshows
importantconquests,throughtheworkoflandmarkindividuals,bandsandmusical
circlesthatwereabletocreatepopularmusicinwaysnotimmediatelyundervigilanceby
theregime.Thiswasthecase,asalreadysaid,ofOldGuardsambaandofforr.Astothe
former,EltonMedeiros(singer,songwriterRio1930),MartinhodaVila(nicknameof
singerandsongwriterMartinhoJosFerreiraRio1938)andPaulinhodaViola(singer,
songwriter,guitaristRio1942)wereparticularlyimportantintheperiodandcontinueto
beuntilnow.Regardingforranditspopreinvention,someofthemoresignificant
musicianswiththeircareerslaunchedinthe1970'swereAlceuValena(singer,
songwriter,guitaristPernambuco,1946),RaimundoFagnerLopes(singer,songwriter,
guitaristCear1950),JosEdnardoSousa(singer,songwriter,guitaristCear1945),
GeraldoAzevedo(singer,songwriter,guitaristPernambuco1945),Dominguinhos
(nicknameofsinger,songwriter,accordionistJosDomingosdeMoraisPernambuco,
1941),ZRamalho(nicknameofsinger,songwriterandguitaristJosRamalhoNeto
Paraba1949)andElbaRamalho(singerParaba1951).Amongbands,"Novos
Baianos"("NewBahians"seeGalvo1997)and"SecoseMolhados"(untranslatable)
wereveryimportant.Bothgroupslastedonlyforpartsofthedecadebutsomeoftheir
membersarestillnowimportantnamesofBrazilianpopularmusic.Forthefirstband,it
isthecaseofMoraisMoreira(nicknameofsinger,songwriterAntonioCarlosMoreira
PiresBahia1947).Regardingthesecond,ofNeyMatogrosso(nicknameofsingerNey
deSousaPereiraMatoGrosso1941)."OsMutantes"("TheMutants")couldbecitedas
anotherbandofthe1970'sbutitwasmuchmorevisibleduringthelate1960'suntil1972,
whenRitaLee(singer,songwriter,guitaristSoPaulo1947)abandonedittoproduce
hersolocareer,extremelyproductiveuntilnow.Astomusicalcircles,the1970'swere
thescenarioofconsolidationof"MsicaInstrumentalBrasileira"("Brazilian
InstrumentalMusic"thesocalled"BrazilianJazz") independentfromthenonofits
environmentinBossaNova(Piedade2003) andofchoro,similarlyinsearchof
autonomyinrelationtoOldGuardsamba(Cazes1998:141146,Livingston1999).The
decadewasalsothetimewhenhasbegunthenationaldisseminationofCarnivalmusic
fromBahia,initiallybasedonthe"trioeltrico"(literally,"electrictrio"amovabletruck
withanoriginallystringsandpercussionband,takingthedancingcrowdthroughoutthe
streetsofacityseeGes1982).The1970'swerealsotheepochofstrongdissemination
of"sambo" alsocalled"sambojia"(bothtermsareuntranslatable),linked
especially,amongothers,toindividualsingersBenitodiPaula(Rio1941),LuizAyro
(biographicdatanotavailable)andtheduoAntonioCarlos(Bahia1945)&Jocafi(Bahia
1944)."Sambo",akindofpopsambausuallyimmersedintheuniverseofdramatic
passion,hasbeenconsidered"brega"("vulgar")bysectorsoftheintelligentsia(Arajo
1987,1988Arajo,P.2002).Finally,thedecadewasalsothepointofdeparturefora
moreacademicapproachtopopularmusicinBrazil,inuniversities,collegesandseasonal
meetingsalsocalledfestivalsbutwithoutbeingcompetitive.Thishasgeneratedan
importantproductionofessays,articles,books,thesesanddissertationsinfieldssuchas
sociology,anthropology,communication,musicandotherssongbookswith
transcriptionsandthegrowinglygeneralizeduseofthesystemofciphersbasedon
functionalharmonyandthepossibilityof onegettingadiplomainpopularmusicin
universities.

In1965,throughthe"1.FestivaldeMsicaPopularBrasileira"("1stFestivalof
BrazilianPopularMusic")promotedby"TVExcelsior"inSoPaulo,televisionnotonly
consecratedthemainarenaofBrazilianpopularmusicforduringtherestofthe1960's
andpartofthe1970'sthecompetitivemusicalfestival(seeVilarino1999,Ribeiro2002,
Mello2003).Itsimultaneouslycreatedanupdatedtrendofit,expressedbyanewusage
oftheterm"MsicaPopularBrasileira"(literally"BrazilianPopularMusic")andits
acronym,"MPB".Lateron,televisionalsoestablishedthecrucialspaceofdissemination
ofsomeofthemainlineagesofthereferredtrend thelivemusicalshow.

ThefestivalasacompetitivepopularmusiceventinBrazildatesfromthe1930'sand
evenbeforewiththe"concursosdecomposio"("compositioncompetitions")connected
tocarnivalinRio(Tinhoro1981:177).Themodelof"TVExcelsior"'sreferredone
followsthistradition,beingatthesametimetributaryofthatonelinkedtoradio,
especiallyasexpressedinitsalreadystudiedliveshows(programasdeauditrio)and
programasdecalouros(talentsearchprograms)[Tinhoro1981:175).Notethat
televisioninBrazilbeguntobedonebasicallybymigrantsfromradioandnot,asinthe
UnitedStatesandsomeEuropeancountries,fromcinema(Ortiz1988).Finally,the
festivalundercommentseemstopursuealsothemodeldictatedbySanRemo'sItalian
SongFestival (Tinhoro1981:175).Anyway,the"1stFestivalofBrazilianPopular
Music"inauguratedanewphaseintheBrazilianpopularmusicscenario,constitutinga
criticalplaceofencounterinvolvingtelevision,thepress,therecordingindustry,
musiciansandtheaudience.Astothelatter,collegestudentsimmersedinthefightsthat
opposedconservativeandinnovativewingsconstituteditscore.Asstudied,sincethe
1930sthefieldofpopularmusicinthecountry involvingbothmusiciansandthe
audience hasbeendividedbetweenthoseidentifiedwiththecanonformedbyBrazilian
popularmusicbackbonesandthoseinsearchforprogressivepositions.Theanalytical
problemhereisthatthisoppositionhasbeendoneinBrazilatleastinthreeseldom
congruentspheres political,ideologicalandaesthetical,andsoitisnoteasilyreducible
totheclassicantinomyright/left,muchusuallyreadinmacropoliticalideologicalterms.
Theparticipationoftheaudienceinthelivetransmissionsofthefestivalswasextremely
active,characterizedbytheintenseuseofclaps,boosandcatcalls,whatinsomecases
arrivedtophysicalaggressioninvolvingthemusiciansandtheaudiencedividedin
factions.Thiscombatdispositioncrossedmanyfields particularlythoselinkedto
cultureandart reachingcollege'scampuses,thepress,theworldofmagazinesdedicated
topopularmusic asectorthatgrewexpressivelyintheperiod andproducingstrong
intellectualdebate(seeBarbosa,org.1966Schwartz1978).

Theterm"MsicaPopularBrasileira"untilthelate1950'swasusedinthecountry
typicallybyfolklorists toidentifytheuniverseoffolkmusic,characterizedaseminently
rural.AclassicsuchasAlvarenga(1960)consecratesthiskindofusage,accordingto
whichwhatpresentlyisknownas"popularmusic"inBrazilwasanexemption,only
acceptedifseenaslegitimateintermsofthecountry'sfolktradition(seeespeciallypp.
283301)."Msicapopularesca"("musicofthepopulace")wasthederogativelabel
appliedtoalltherest.Rangel(1962) byajournalist wasoneofthefirstbooksinthe
countrytoemploythetermtopointtopopularmusicasagenuinetype,similarlytofolk
andartmusic.Ofcoursethisgenuinetywasalsoselectiveastheauthorstudiedonly
"Carioca"musicinthetraditionofsambaandchoro.Vasconcelos(1964)amplifiedthis
position,approachingthephenomenon yethavingRioasscenario withahistorical
perspective.Tinhoro(1966)consecratedit,additionallyinauguratingamore
sociologicalandpoliticaltreatmentofthetheme.Whathappenedsincethefestivalin
commentwasthattheexpression"Brazilianpopularmusic" significantlyreplacedby
theacronym"MPB" passedtoidentifyonlytheindividualandtrendswhichcouldbe
recognizedasBossa'sheirs.ThisincludedChicoBuarque,EduLobo(nicknameof
singer,songwriter,arrangerEduardodeGisLoboRio1943),ElisRegina(singerRio
GrandedoSul1945SoPaulo1982)andthemembersofthe"CanodeProtesto",
"Tropicalismo"and"ClubedeEsquina"circles.Alltherestwasresidual,whatprovoked
thecreationofanexpressiontoindicatethenewtrend "msicadefestival"("adhoc
festivalmusic")[seeMiller1968].

FinallyMPB'sfestivalsestablishedanewkindoftelevisionlivemusicalshows,directly
linkedtoMPBmainlineages.Thiswasthecase,immediatelyafterthereferredfirst
festival,oftheshow"OFinodaBossa"("TheBestofBossa"),of"TVRecord"ofSo
Paulo,undertheguidanceofElisReginaandJairRodrigues(singerSoPaulo1939).
ElisReginawasthemaininterpreterofthefirstfestival'swinnersong,thefamous
"Arrasto"(untranslatable[atypicallyNortheasternfolkpracticeoffishing])byEdu
Lobo(music)andVinciusdeMoraes(lyricssinger,songwriter,poetRio19131980).
In1967,thesame"TVRecord"launched"Disparada"(perhaps"HerdofCattleBolt"),a
showundertheleadershipofVandr,winnerofthe2nd"TVRecord"'sFestival,of1966,
withatunewiththesametitle,tiedinfirstplacewith"ABanda"("TheBand")byChico
Buarque.Similarly,in1968"TVTupi"ofSoPaulohiredCaetanoVelosoandGilberto
Giltocommandtheshow"DivinoMaravilhoso"("DivineMarvelous").GilandVeloso
wereextremelysuccessfulinthe3rd Festivalpromotedin1967by"TVRecord"ofSo
Pauloalthoughtheyonlyobtainedrespectivelyitssecondandfourthplaces.Theseshows
wereprofoundlyconsequentialfor"MPB"astheywereconstructedasspacesnotonly
foritsdisseminationbutalsocultivationandcelebration:ontheonesidetheyhadas
conductorsnameseachtimemoreinvestedwithprestigeinthescenarioofpopularmusic
inthecountry.Ontheother,theyhadashabitualguestssimilarlygrowinglyconspicuous
musicians:ChicoBuarque,EduLobo,GalCosta(nicknameofsingerMariadaGraa
BurgosBahia1945),TomZ(nicknameofsinger,songwriter,arrangerAntnioJosS.
MartinsBahia1936)andmanyothers."TVRecord"ofSoPaulolaunchedalsoin1965
anotherliveshowcalled"JovemGuarda"("YoungGuard"),havingaspresentersRoberto
Carlos(singer,songwriterEspritoSanto1939),ErasmoCarlos(singer,songwriterRio
1941)andWanderliaSalim(singerMinasGerais1946),theleadersof"Jovem
Guarda"asamusicalcircle.Thisshowhadoneofthegreatestaudiencesinthehistoryof
BrazilianTV provokingthedecreaseof"OFinodaBossa"'s,stronglycontributingto
thetransformationofRobertoCarlosintothechampionofdiscssellinginthecountry.

Asalreadystudied,rockmusicinBrazildatesfromthe1950's,whenitbeguntoarriveto
thecountrycomingfromtheUnitedStates after,alsofromEngland,initiallythrough
films(Martins1966,Dapieve1995,Pugialli1999,Fres2000).Since1957,itsBrazilian
cultivators,particularlyfromSoPaulo,suchasthebrothersTony(nicknameofsinger
andproducerSrgioCampeloSoPaulo1936)andCellyCampelo(nicknameofsinger
CliaCampelloSoPaulo19422003),successfullydedicatedthemselvesto
disseminatethegenre,releasingPortugueseversionsoftunesbyauthorssuchasElvis
Presley,PaulAnka,NeilSedaka,PatBoone,orevensingingintheirEnglishoriginals.
Duringtheearlier1960'sundertheimpactofBossa'ssuccess,thisfirsttrendofthegenre
inBrazillostpenetration,gainingnewforcesin1963withRonnieCord(nicknameof
singer,songwriterRonaldCordovilMinas1943 SoPaulo1986)[Marcondes,ed.:
411412].Although,itwasonlywith"JovemGuarda"properly derogativelyalsocalled
inBrazil"iii"(aneventuallyironicreferencetothe"yeahyeahyeah"phrasing
frequentinthelyricsofsometunesofthe"Beatles",as"SheLovesYou") thatrock
musicexpandeditspopularityinthecountry,soon transformingitsmainmembersinto
championsofthemarket.Towardthis,thegroup'sprogramin"TVRecord"(196569)
wasdecisive,celebratingitscrucialmessage youngrebellion.Thisrebellion,under
RobertoCarlos'("TheKingofYouth")ErasmoCarlos'("Tremendo",perhaps
"Tremendous")andWanderlia's("Ternurinha","LittleTender")command,was
characterizedintheshowbytheuseofanappealinguniverseofperformingmarks:on
thelinguisticlevel,adistinctiveslangontheconstructionofthebody,theprofuseuseof
grimacesandtheemploymentofdressessimilar,forexample,tothoseonthecoverofthe
"Beatles"'s"SergeantPepper",bizarrelonghairsbythemen,provocativeminiskirtsby
thewomeninmusicalterms,theuntilthenuncommoninBrazilutilizationofelectronic
instruments(guitarsandothers)toaccompanysongssometimesmoresimilartoballads,
bolerosandsambacanesthenproperlytoAngloAmericanrocks.
Irreverencetowardthe"past"couldbethesummaof"JovemGuarda"rebellion,labeled
bysomeauthorsas"romantic"(Martins1966).Thisirreverencewasnot atleast
immediately againstthepresentinmacropoliticalterms,themilitaryregime.Thisand
itsuseofaparaphernaliaofAngloAmericanoriginsigns,summedwithitspretensely
notprogressivemusicalpositionhadasaconsequenceforthegroupitsaccusation
typicallybyBossa'sheirsinthelineof"ProtestSong"suchasVandrandRegina of
lackoforiginality,alienationandevencollaborationism.Themembersof"Tropicalismo"
didnotsharethiskindofaccusation,positivelyvaluing"JovemGuarda"' typicallyits
useofelectronicinstruments andparticipatingmanytimesasguestsintheirshow.As
said,theshowwasoneofthebiggestsuccessesinthehistoryofBraziliantelevision,
attractingmanybandsandindividuals."JovemGuarda"asacirclelefttoexistwiththe
extinctionofitsshowin1969,thoughRobertoCarlosandErasmoCarloscontinueuntil
nowbeingextremelysuccessful.Inthe1970's,itwasthetimeof"NovaJovemGuarda"
("NewYoungGuard"),involvingamongothersthebands"OsTits"("TheTitans")and
"Blitz"("War",inGerman).Throughoutthe1980's1990'smanyimportantmusiciansand
bands notonlyoftherockcircle madesuccessfulrenditionsof"JovemGuard"classics
suchas"OCalhambeque"("Banger")and"ProibidoFumar"("SmokingProhibit!").
Thispointstothefact"YoungGuard"nowpertainstothebackbonesofBrazilianpopular
music,notasamemberof"MPB"butasanindependentmusicaluniversesuchas"Old
Guard".

"Tropicalismo",alsocalled"Tropiclia"see(Veloso1997Cyntro,ed.2000Dunn
2001),hadasitscoremusiciansandwritersfromBahiaandSoPaulo.Amongthe
musicians,wereVeloso,Gil(itsleaders),TomZ,GalCosta,theband"OsMutantes"
andarrangersRogrioDuprat(SoPaulo1932),DamianoCozzela(SoPaulo1929)
andJlioMedaglia(SoPaulo1939).Thelatterthreeweremigrantsofvanguard
Westernartmusic.Amongthewriters typicallyintheroleoflyricsauthors,wereJos
CarlosCapinam(Bahia1941)andTorquatoNeto(Piau1944RiodeJaneiro1972).
Thiscorehadconsequentialrelationshipswithintellectualsofmanyotherfields.This
wasthecaseofpoetry,throughAugustodeCampos(SoPaulo1931),Haroldode
Campos(SoPaulo19292003)andDcioPignatari(SoPaulo1927),vanguardpoets
linkedtoConcretism(Santaella1986)ofmovies,particularlythroughGlauberRocha
(directorBahia19391981),mainmemberof"CinemaNovo"("NewCinema"see
Maciel1996)plasticarts,principallythroughvanguardartistHlioOiticica(Riode
Janeiro1937 1980)andtheater,especiallythroughdramaturgesanddirectorsJos
CelsoMartinezCorreia(SoPaulo1942)andLuizCarlosMaciel(RioGrandedoSul
1938).OswalddeAndrade(SoPaulo1890 1954),thefamousmodernistwriter
founderofculturalcannibalism,wasthechosenancestorofthegroup(Maltzetalli
1993).CulturalcannibalismdefendedanimaginedAmerindiancenteredperspectivefor
Brazil,accordingtowhichtheculturalcannibalizationofthe"other"wastheadequate
proceduretowardtheconstructionofBrazilianculture.Thegroup'sethoscanbe
summarizedthroughageneralizeddispositionof"deboche"("derision"),appropriately
readintermsofBakhtin's(1981)carnivalization.Thisethosechoedapervasivecritic
attitudetowardtheestablishmentisBrazil,accordingtowhichtheoppositions
traditional/modern,Brazilian/foreign,erudite/popularoughttobedialectically
superseded.Themakeupofthemusiciansofthegroup men'sandwomen's wasbased
ontheuseofcarnivalizeddresses,hairsandbodyconstructioningeneral,markedbya
theatricalcorporealityastheywererepresentingonstage.CarmenMiranda thefamous
singerknownas"BrazilianBombshell"intheUnitedStatesduringthe1940'suntil1954
wasoneoftheirpreferentialcharacters,typicallybyVeloso(seeVeloso2001).

"Tropicalismo"hadasitsmainmusicalmarkageneralizedspiritofvanguard:its
arrangementsfrequentlywerecollagesandpastichesitslyricsusuallyhadprofound
influencesofConcretismandotherpoeticmovementsofthetime.Itsmelodiesand
instrumentalandvocalperformanceswereextremelyinnovative.Tropicalismolasted
during196768.In1968,VelosoandGil withtheirtune"Divino,Maravilhoso"
obtainedthe3rdplaceinthe4th festivalpromotedby"TVRecord"ofSoPaulo.Soon
after,ashowwiththesamenamebegunin"TVTupi",alsoinSoPaulo.Ithada
considerablesuccess,releasingthehitsofthegroupandpresentingmanyguestsof
diverseaffiliations.InDecember1968,withtheeditionof"AI5"itwasprohibited,Gil
andVelosobeingexiled.Duringtheearlier1970's,thebands"OsNovosBaianos"and
"OsMutantes"canbeconsideredastheirheirs.Themusiciansmembersof
"Tropicalismo"continuetohaveuntilnowastrongpresenceinthescenarioofBrazilian
popularmusic,asignaloftheconsecrationofthemovementasanowintegrantofits
backbones.

UnderNascimento'sleadership,"ClubedeEsquina"involvedmusiciansandlyricists
typicallyfromMinasGerais(seeBorges1996).Amongtheformer,ToninhoHorta
(nicknameofsinger,songwriter,guitarist,arrangerAntonioHortadeMelo1948),
WagnerTiso(keyboardist,arranger1945),LBorges(nicknameofsinger,songwriter,
guitaristSalomoBorges1952),BetoGuedes(nicknameofsinger,songwriter,guitarist
AlbertodeCastroGuedes1951),TavinhoMoura(nicknameofsinger,songwriter,
guitaristOtvioAugustoP.Moura1947)andFlvioVenturini(singer,songwriter,
keyboardistMinasGerais1949).ItsmainlyricistswereMrcioBorges(1946),
FernandoBrant(1946)andRonaldoBastos(Rio1948).Duringthe1970's,thebands"O
SomImaginrio"("ImaginarySound")and"14Bis",theformerwithTiso'sparticipation,
thelatterincludingVenturini,werealsolinkedtothemovement.In1967,Nascimento
gotthesecondplaceintheSecondInternationalSongFestivalpromotedby "TVGlobo"
inRio,releasing"Travessia"("Journey"),atunebyhimselfandlyricsbyBrant.Atthe
samefestival,heobtainedthefirstplaceasaninterpreter.Soonafterheparticipatedin
showsinRioandSoPaulo,collaboratingwithmusicianslinkedtotheemergent
"BrazilianInstrumentalMusic"("BrazilianJazz").In1968,throughEumirDeodato
(arranger,Rio1943),hetraveledtotheUnitedStates,recordinghisfirstLPthere.This
rapidsequenceofconquestsmarkedNascimento'snationalpreeminence,simultaneously
designingthemaindoorofentranceofthegroupasawholeinthenationaland
internationalscenarios:exquisitemusicalelaboration especiallyinvolvingarrangements
andvocalandinstrumentalperformances andastrongopeningtointernationalpopjazz.
In197576NascimentorecordedwithWayneShorter,AirtonMoreiraandHerbie
Hancock,amongothers,consecratingakindofinternationalrelationshipuntilnow
active,alsosharedbyToninhoHorta,nationallyandinternationallyknownasasuperb
arrangerandguitarist.Besidesthis,Hortahasaparticularinteresttowardthe
disseminationofinstrumentalmusicinBrazil,organizingthefirstfestivalofinstrumental
musicinthecountry,inMinasin1986.Anotherimportanttraitof "ClubedeEsquina"is
theuseofelementsofBrazilianfolkmusicasabaseforthecompositionalprocessand
performance.ThisisespeciallynotableinMoura'swork."ClubedeEsquina"nowisa
partofBrazilianpopularmusicbackbones.

Tosummarize,theperiodunderstudywasmarkedby"MPB" involving"Canode
Protesto","Tropicalismo"and"ClubedeEsquina" andoneofits"other"parexcellence,
"JovemGuarda".Pinheiro(1992),studying"MPB"asanarticulatedfield,pointedthat
thesystemofrelationshipsinvolvingitstrendsandtheyinrelationwith"JovemGuarda"
wasdominatedbygeneralizedfriction,alliancesandcounteralliances,characterizedby
mutualaccusationsofmanytypes,particularlypolitical,ideologicalandaesthetical.His
conceptoffrictionisinspiredinitsseminalusebyCardosodeOliveira(1976).Piedade
(2003),approachingthesocalledBrazilianJazz,alsofoundthistheoreticalavenuewas
fertile,coiningtheterm"frictionofmusicalities"tocoverthereferredaccusationsasa
systematicdiscursiveuniverse.What,finally,isit"MPB",inacountrywhereacronyms
soontendtogetfreefromtheexpressionstheyoriginallycovered? Inacapsule,the
universeofBossa'sheirs,progressivetybeingthecentraldiscursiveelementoftheir
identityselfconstruction.Asalldiscourseisbydefinitioninconsistentandcontestable,
thereferredelementgrowinglytendstobecounterexemplified,asCaiado(2001)
intendedtoshowcomparingmusicaltranscriptionsofBossa'srhythmicmelodic
structures typicallyasperformedbyJooGilberto withtheirprobable"OldGuard"
sambarenditions.Theresultofthisprovocativeresearchisthatthelattercouldbe
definedasmorecomplex thantheformer.ThishoweverseemsdonotcontradictBossa's
discourse,asitsargumentofprogressivetydepartsfromthefactthatGilberto's"batida"
wouldbeexactlyasimplification of"OldGuard"'sparallelversions(Garcia1999).Itis
inthissensethatitispossibletothinkthatBossa'sdiscoursetothecontraryofnegating
"OldGuard"reinforcesitandtakesitasitsdeeproots asGilbertoonetimeseemshe
said:"Iamjustasambista'"("sambamusician").

1980's1990'suntilthepresent
TheauthoritarianregimelastedinBraziluntil1985,whenthefirstcivilian(JosSarney)
yetindirectlyelectedasanimpositionofthemilitary tookoffice.Onlyin1990direct
universalsuffragewasrestored,thepresidentthenchosen(FernandoCollordeMello)
resigningin1992toavoidimpeachmentunderclamorousaccusationsofcorruption.The
socalled"Brazilianmiracle" characterizedbyhighpercentagesofannualeconomic
growth thatmarkedthereferredregimeduring19651973,wasreplacedbyrecession
alreadybythemiddle1970's.Sincethelate1970'sbutespeciallyfrom1980on,the
recordingindustryfollowedatendencyofconcentrationoffirms,resultinginanample
dominationofthemarketbytransnationalsandinaneachtimegreaterdiversificationof
typesofmusic.Thispermittedtheproductiontoreachin1979 infullrecession records
ofselling,amounting23.5millionsunitiesofforeignmusicand40.6ofBrazilian.In
1989,thetotalwas76.9millionsofunitiesandUS$237.6millions,alsowithastrong
preeminenceofBrazilian(Dias2000:739).In1996,itreached80millions CDs,
cassettesandLPs,70%ofthembeingBrazilian.Thoughexhibitingagrowingly
diversification,themarkedthenwasconcentratedinthreelargemusicaluniverses:
msicasertaneja,Brazilianrockand"pagode"(akindofpopsamba).ThecapitalofSo
Paulooccupiedthefirstplaceofthemarket,itscountrysidecominginsecond(Menezes
Bastos1999).In2000,theproductionofBrazilianitemswasgreaterthan75%,thesame
kindofconcentrationcontinuingbutwithamoreamplediversificationtoinclude
regionalgenresfromsoutherntonorthern,tonortheasterntocenterwestern,toBahian
axmusic.Though,therankofthecountryintheworldmarkethasdecreasedeachtime
moreduetopiracy(seewww.abpd.org.br).

RockmusicinBrazilreachedadulthoodduringthe1980's.Thiscanbeevidencedalready
bytheuseoftheacronym"BRock" Brazilisthelandofacronyms topopularlylabel
it,"BR"indicating"Brasil".Towardthisconsolidation,"JovemGuarda","Tropicalismo"
and"TheMutants","SecoseMolhados",RaulSeixas(singer,songwriter,guitaristBahia
19451989)andthegroup"Vimana"(197478)wereconsequential(Dapieve1995).
Duringthe1980'sapervasivepunkmarkisrecognizedinBRock'sconfiguration,
reachingamongotherplacesSoPaulo,Rio,Braslia,BeloHorizonte,Salvadorand
PortoAlegre,throughfestivalsandbars(Essinger1999).InRio,"RdioFluminenseFM"
("FluminenseFMRadioStation")and"CircoVoador"("FlyingCircus",ashowhouse)
weremuchimportant,theformerbeingtodayrecognizedasoneofthebestBrazilian
experiencesinalternativeindependentmedia.During198285,itbanishedconsecrated
musicalsgroupsandalldiscs,mountingitsprogramsbasedonlyondemotapesof
unknownbands.In1985,throughmegashow"RockinRio"thecountrywasincludedin
theinternationalrockagenda:duringtendays,itseventsattractedabout1.5million
people,whatwasimportantfortheformationofamassrockaudienceinBrazil.Toward
this,thegrowthofthemarketofspecializedmagazineswasalsoverycontributive.All
thisturneditpossibletheformationofmanybands,amongthem:"Vimana"("Fire
Carriage"in Sanskrit),"Blitz"(198086),"LegioUrbana"(19821996"UrbanLegion"),
"Tits"(1982"Titans"),"BaroVermelho"(1981"RedBaron"),"Paralamasdo
Sucesso"(1982"MudguardsofSuccess")."LegioUrbana"probablywasthemost
successfulofthem,sellingin1985about13millionsunities(Dalieve1995).Somepast
orpresentmembersofthesebandsgainedcelebrity:oftheextinct"Vimana",LuluSantos
(nicknameofsinger,songwriter,guitaristLusMaurcioP.dosSantosRio1953)and
Lobo(nicknameofsinger,songwriter,drummerJooLusWoerdenbagFilhoRio
1957)of"BaroVermelho",Cazuza(nicknameofsinger,songwriterAgenordeMiranda
A.NetoRio1958 1990)RenatoRusso(nicknameofsinger,songwriter,guitarist
RenatoManfrediniJnior Rio19601996),of"LegioUrbana"ArnaldoAntunes
(singer,songwriter,poetSoPaulo1960),of"Tits"andHerbertVianna(singer,
songwriter,guitaristParaba1961),of"ParalamasdoSucesso".

Theadulthoodabovereferredwasbuiltasaresultofatruefightby"BRock"musicians
andaficionados,inacountrywhererockmusicalwayswastookassuspiciousbecauseof
itsevidentforeignorigin.Thestrategyofthisfightwastoprovethatitwaspossibleto
producerockmusicinBrazildeservingthequalificationofBrazilianandsimultaneously
beinglinkedwiththerespectiveinternationalscenario.Thiswasmadepossiblethrough
theuniversaluseofPortugueselyrics,theapproachofsensiblethemesbythemand
throughagroundbreakingworkofcomposition,arrangingandperformance.This
involvedastrongandintentionaldistancingfrom"MPB"and"JovemGuarda",what
resultedespeciallyclearinthethemespreferentiallytreatedinitslyrics:insteadof
rebellion,irreverenceorcritictowardthegovernmentandtheestablishment,celebration
oflifeingangs,cultivationofsubjectivityandhumor,andaneventuallynihilistposition
regardingthestate(Dapieve1995,Trotta1995,Marchetti2001).Duringthe1990's,
"BRock"'sconsumptionleveltendedtodecrease,beingthoughincorporatedbyBrazilian
popularmusicbackbonesasaconsecratemusicaluniverse.Manyofitsbandsand
individualscontinuetheircareersuntilnow.Duringthereferreddecadeitseemsthatit
hadmsicasertanejaasitsmain"other" thoughtasvulgarandcommercial,
"Manguebeat"ontheotherhandbeingbuiltasitsmoreimportantsignalofcontinuity,
imaginedasprogressive(Dapieve1995).The1990'smarkedthelaunchinginBrazilof
"MTV"andthespreadofalternativeindependentmedia,linkedornottosocial
movements.Thelatteruntilnowhascontributeddecisivelytowardagrowingly
capillarityofproductionandconsumptionofpopularmusicinthecountry.

"Manguebeat"(perhaps"SwampRock")isamusicalcircleborninRecife,thecapitalof
Pernambuco,bytheendofthe1980'sandbeginningsofthe1990's(seeTeles2000).Its
mainmemberswereChicoScience(nicknameofsinger,songwriter,guitaristFrancisco
deAssisFranaPernambuco1966 1997)andFred04(nicknameofsinger,guitarist,
journalistFredMontenegroPernambuco19..[biographicdataunavailable]).Science
wasleaderofbands"Lustral"(untranslatable)andafter"NaoZumbi"("ZumbiNation"
[Zumbi,16551695,wasthegreatleaderofthefirstrevolutioninBraziltowardthe
abolitionofAfricanslavery])and04of"MundoLivreS.A."("FreeWorldLtd.").
"LamentoNegro"("BlackLament")wasanotherimportantbandlinkedtothemovement,
whichinvolvedalargeamountofpeople includingpercussionistsandplayersoffolk
instruments fromextremelydiversifiedsocialstrata."Manguebeat"'smusicisafusion
involvinghardcoreandpunkrockmusic,reggaeandgenresoffolkNortheasternorigin,
maracatuandemboladaamongothers.Itsaestheticsdepartsfromanacidcriticofthe
situationofBrazilianpopularmusicduringthelate1980'sandearlier1990's,according
towhich"MPB"and"BRock"hadtransformedthemselvesintodecadentandmarket
orientedtrends.Notethatthisperiodwasdominatedbythestabilizationinthemarketof
pastmembersof"MPB"and"JovemGuarda",byahighincreaseof"BRock"
consumptionandbyayetslowgrowthofmsicasertaneja,"pagode"and"axmusic"
(Teles2000).Economically,thecountrywasinrecession,itsrecordingindustry
dominatedbyaneachtimemoreintensepiracy reachingthe13thplaceintheworld
market.Simultaneously,thisaestheticsassumesJosudeCastro's(sociologist
Pernambuco1908 France1973)criticregardingNortheasternpoverty,typically
Recife'sacitycharacterizedbytheexistenceofswamps("mangues")fromwhichthe
poorpopulationtakesitsfood.Theverynameofthemovementandofitsmusic
("manguebeat")comesfromthis.Allthispermitstheapproximationof"Manguebeat"
withontheonesideGlauberRocha's"estticadafome"("HungerAesthetics")and
"Tropicalismo"'sculturalcannibalism.Thelatteridentificationcontributedtoconstruct
"Manguebeat"asanoppositeofthe"ArmorialMovement",undertheleadershipin
RecifeofArianoSuassuna(novelist,dramaturgeParaba1927).Suassunahasdefended
anisolationistpositionregardingtheassociationofBrazilianculturewiththe
internationalpopscenario.Towardthelocaldisseminationofthemovement,festivals
(from 1995on)andalternativebarsanddiscstoreswereimportant.Amongthelatter,
"RockXpress"deservestobementioned(Teles2000:283).Thenationalrecognitionof
themovementdatesof1993,when"NaoZumbi"and"MundoLivreS.A."presented
themselvesinSoPauloandBeloHorizonte.In1994,Scienceand"NaoZumbi"'sfirst
album("DaLamaaoCaos""FromMudtoChaos")wasreleased,beingthebasefortheir
successfultour,in1995,intheUnitedStatesandsomeEuropeancountries.Science's
deathin1997provokedagreatimpactinthemovement,whichthoughcontinuesuntil
nowthroughtheworkofFred04andothers.Oneofitsimportantconsequencesisthe
presentstronginsertionofPernambucanmusicalityinthescenarioofBrazilianpopular
music.

Asalreadystudied,itdatesfromthe1940'stheuseofthelabel"msicasertaneja"to
indicateakindofsecondvarietyof"msicacaipira"(Ulha1999:49),characterizedas
"urban"buthavingthe"rural" ratherthe"domesticatednature"ortheimaginationofthe
countrysidemadefromthecity(MenezesBastos1999:26) asitsfocaluniverseof
meaning,bothinlyricsandmusic.Thesystemofrelationshipsinvolvingthereferred
varietiesisverysimilartothatrelatedtothealsotwovarietiesof samba,asapproached
before,"msicasertaneja"beingenvisagedbyBrazilianpopularmusicstudiestypically
intermsofsecularization,dilutionandcommodificationof"msicacaipira".AsOliveira
(2004)hasrecentlyshowedstudyingthemusicalityofPiracicaba(inthecountrysideof
SoPaulo) atruesanctuaryofthemusicsundercomment,thiskindofcategorization
seemsdonotmakemuchsensefortheirpractitioners,whousethetwolabelsina
peculiarmanner,muchusuallyavoidingthatoneof"msicacaipira"becauseofits
derogativeheight "caipira"forthempointstorusticityandunderdevelopment and
qualifying"msicasertaneja"as"raiz"("root").Notethatboth"caipira"and"sertaneja"
musicsforthemhaveoriginwiththeirrecordingindiscs,arepresentationthatchallenges
thatonemuchcommoninBrazilianpopularmusicstudiesthatonlythesecond thought
intermsofapretenseruralpurity wouldbe"contaminated"bymassmedia.

Theincreaseoftheconsumptionof"msicasertaneja"inBrazilbeginsinthe1980's(see
Nepomuceno1999).BeforethisSoPauloanditsareaofinfluence typicallyan
agriculturalfrontier wasitsplaceofaudience.The1990'stook"msicasertaneja"tothe
peaksofnationalpreference,whatwaslinkedtothelargegrowthandnationalexpansion
ofagrobusinessinthecountry(MenezesBastos1999).Notethatthegenrehasthe
domesticatednaturepresentinagricultureasitsuniversalbackground,meetinginlove
affairs particularlyextraconjugal thepreferentialthemeofitslyrics.Itsmusicis
characterizedbythesinginginthirdsandsixthsbyadoubleofthesamesex thegreat
majorityofdoublesbeingofmen,theaccompanimentbeingmadebyguitars(playedby
thesingers),allincludedinmuchusuallypassionatepoparrangements.Thegreat
majorityoftunesof"msicasertaneja"areloveboleros,balladsandsambacanes,
commonlyevaluatedbypartsoftheintelligentsiaasvulgarandcommercial.Chitozinho
(nicknameofsingerJosLimaSobrinhoParan1954)&Xoror(singerDurvalde
LimaParan1957)ZezdiCamargo(MirosmarJosdeCamargoGois1963)&
Luciano(WelsonDaviddeCamargoGois1973)Leandro(LusJosCostaGois
1961SoPaulo1998)&Leonardo(EmivalEternoCostaGois1963)aresomeofthe
mostimportantdoublesof"msicasertaneja",extremelysuccessfuluntilthepresent.
WithLeandro'sdeathin1998,Leonardohasdedicatedhimselftoasuccessfulsolo
career.Alltheciteddoublesareformedbybrothers,oneofitsverycommontrait
(Oliveira2004).
Theword"pagode"(from"pagoda"inSanskrit)hasalonghistoryinPortuguese,being
incorporatedtoit(fromPortugal)inthe16th centurywithageneralsenseofmusical
dancingencounter.InBrazil,thetermhaspassedtobeusedfromthe1970'sontolabela
kindofpopsamba,characterizedbydancinginvolvingoneortwowomeninthemiddle
ofaroundformedbyfivetoeightmensingingandplayingpercussionandstring
instruments.Blackpeopleandmestizoesarepredominantintheseformations,oneofthe
womenusuallyhavingherhairspaintedinblonde.Thewomeninthecenterofthe
choreographicformationarethesubjectmatterofmen'sbothlyricsandgestures,
sexualitybeingthegeneralbackgroundofthemasculineaddress.Thisconfiguration
evokesthatoneoflundusong,alreadystudied.Inin,amulattomale("negrinho")
seductivelyaddressesawhiteandhierarchicallyhigherwoman("iai"),joking
relationshipsbeingtheidiomoftheirkindofsociability.Thistypeofrelationshipmuch
commonlypointstoalteritybetweentheinvolvedparts,pagode aslundu(song) also
beingamusicaluniversemarkedbyverticalityandcomicity,inacapsulebyinequality.
Fromthe1990'son,"pagode"alsoreachedthepeaksofaudiencesinBrazil,showing
manyregionalexpressions,themostpopularofthemcomingfromBahiaandSoPaulo.
Importantpartsoftheintelligentsiatendtoenvisagethegenreasvulgarandcommercial,
characterizedaslasciviousandsuperficial.Someofitsmoresuccessfulensemblesare
"SprContrariar"(perhaps"JusttoChallenge"),"RaaNegra"("BlackRace")and"o
Tchan"(untranslatable).

"Axmusic"(seeGuerreiro2000["ax"isaYorubawordusedbyAfricanBahian
practitionersofthereligiouscultof"candombl".Itpointstothegeneralsenseof"vital
principle"])isamusicaluniverseoriginallylinkedtocarnivalinSalvador,capitalofthe
stateofBahia.Itwasbornduringthe1980's,havingasoneofitsancestorsthe"trio
eltrico"musicalityanditsincorporationduringthe1970'sby"Tropicalismo"through
Bahianfrevo.Fromthe1990'son,thegenreknewanextraordinarynationaland
internationalexpansion,disseminatinganewgenre sambareggae,thenamesofmany
prestigiousindividualmusiciansandbandsandtransformingBahiancarnivalintoamega
massevent,attractingmillionsoftouristsandexported notonlyduringcarnivaltime
tomanypartsofBrazilandabroad.The"blocosafro"("Africanparades")arethecoreof
"axmusic",beingformedtypicallybyapercussionbandfollowedbyhundreds,
sometimesthousands,ofmembersdancers.These"blocos"arecivilassociations,the
greatmajorityofthemhavingtheirorigininlowerclassandBlackpeopleneighborhoods
andassumingAfricanshipasapolitical,ideologicalandaestheticalvalue.Salvadorisa
citypredominantlyinhabitedbyAfricandescendentsbutalwayshadanextremely
powerfulracistwhiteorwhitenizedelite,thisconstitutingthelocalarenainwhichthe
referredAfricanshipinteracts.Notethatthemusicaluniverseincommenthavesuffered
constantcriticalattacksbyrelevantpartsoftheBrazilianintelligentsia,whathas
happenedinamillionaireconcurrentialcarnivalmarketinvolvingRio'sandOlinda's(in
Pernambuco).Thereferredaccusationscharacterizethemusicunderstudyascommercial
andvulgar,beingusuallyreciprocatedby"axmusic"practitionerswithclaimsofracism
andofjealousyastheirmusicgrowingly attractsconspicuouspersonalitiesofthe
internationalpopularmusciscenariosuchasDavidByrne,PaulSimon,MichaelJackson
andothers."Olodum","IlAiy","AraKetu"and"MalDebal" allbeingnamesin
Africanlanguages aresomeofthemoreimportantbandslinkedtothismusicalcircle.
NeguinhodoSamba(nicknameofconductor,arrangerAntnioLusAlvesdeSouza
Bahia[unavailablebiographicdata]),Sarajane(singerBahia[same]),LuizCaldas
(singer,songwriter,guitaristBahia[same]),CarlinhosBrown(nicknameofsinger,
songwriter,percussionist,arranger,conductorAntnioCarlosSantosdeFreitasBahia
1964),MargarethMenezes(singer,songwriterBahia1962),DanielaMercury(singer,
songwrieterBahia1965)andIveteSangalo(singerBahia1972)areamongsitsmore
prestigiousindividualnames.

TheContributionofBrazilianpopularmusictothepopularmusicsoftheworld

Brazilianpopularmusichasshowedsinceitsmoreremoteoriginstohavean
extraordinarycapacitytoproduceitself atthelocal,regionalandnationallevels
congeniallyinarticulationwiththeinternationalmusicalscenario.Inmanyofits
manifestationsthisformofbeinglefttobemerelyanempiricalfactandwastransformed
intoaconsciousstrategyandrhetoricbymusiciansandtheiraudience.Thiswasthecase
duringthe20th centuryofmanyofitstrends,particularly"Tropicalismo","Clubede
Esquina","JovemGuarda","BRock"and"Manguebeat".Theformerandthelatter,
assumingculturalcannibalismastheirglobalphilosophy,tookthiscapacitytoitsmore
radicalconsequences.

Relatedtothiscapacity,Brazilianpopularmusichasempiricallypresentedanotherone
extremelypervasiveinitshistory:thefacultytotransform"foreign"in"Brazilian"music.
Thecaseofthemodinha/lunduinthe18th centuryisexemplaryhere.Whatitispossible
toputaboutthereferredgenres foundersofmusicalBrazilianship isthatthey
constituteoneofthefirstcasesofsongglobalizationinthedomain ofWesternmodern
popularmusic,havingasbackgroundtheinternationstatessystemofrelationships.In
thiscontext,DomingosCaldasBarbosawasitsgenialindividualpointofencounter.If
thisiseffectivelyconsistent whatonlymoreresearchcansubstantiate,popularmusic
isnottheinventionofthesocalled"central"countriesexportedtothe"periphery".To
contrary andthisisonemoreevidenceagainstthetheoryofdependence,popular
musicasoneofthemorecruciallanguagesofthereferredsystem,iscontinuouslybeing
createdinit,initsmanypartsandnodes,exactlytoexpressit anincontactsystem.As
BrazilduringthistimewasnotyetanindependentcountrybutaPortuguesecolony,the
caseofmodinha/lundualsoshowsthatBrazilianmusicispriortotheexistenceofBrazil
asaformalnationstate.ThisevokesafamouscarnivalmarchbyLamartineBabo
(songwriter,humoristRio19041963)whoselyricssaysthatBraziliancarnivalis
previoustoitsvery"discovery"bythePortuguese.

AnothercapacitythatBrazilianpopularmusichasshowedtoexercisecurrentlyisto
transformpreviouslyseenaslowqualitykindsofmusic typicallybypartsofits
intelligentsia intoacceptedorevenconsecratedones.Thecaseof"Carioca"samba
duringthe1920's1930'sisparadigmaticnow:initiallytookasalowextractionmusic
havingasbaseclearlyracistarguments,thereferredsambatransformeditselfintothe
veryemblemofthecountry.Thishappenedinatimeinwhichsimilarprocessesoccurred
inArgentinewithtangoandinCubawithrumba,whatagainconfirmsoneofthepoints
ofdeparturesofthistextthattheinternationalframeworkofpopularmusicisabsolutely
fundamentaltocomprehenditslocal,regionalandnationalmanifestations.Astotheparts
ofBrazilianintelligentsiawhichsoconservativelyhavejudgedmanyofitsmusical
trends,notehowtheyhaveusedconstantlyanAdornoidformofthinkingaccordingto
whichtheaudienceisamorphous,stupidandeasilymanipulated.Additionally,inthe
greatmajorityofcases,theseintellectualshaveconfusedthecultureofthepoor
typicallyinurbanniches withtheirpretensepoornessofculture.

Sincethe1970'sBrazilisoneofthefewcountriesintheworldinwhich theconsumption
ofBrazilianmademusicisconsiderablygreaterthatthatof"foreign".Thisseemstobea
resultnotonlyoftheabovementionedcapacitiesbutalsooftheintelligenceofthe
transnationalsoftherecordingindustrytoadapttothem.Thisintelligenceseemsto
followtwomainprinciples,onlyapparentlycontradictorybetweenthemselves:
concentrationonroughlythreetofourcentralmusicaltypes forexample,msica
sertaneja,pagode,rock andaneachtimemoreextensivediversificationoftheminorder
tocoverthegreatestaspossiblenumberofconsumers.Atthesametimethatthis
intelligentstrategyhaspermittedthereferredtransnationalstoobtaingrowinglygains,it
hasmadeitpossiblethemanifestationofmanygenres typicallyregional whichcould
bemuchmoreinvisible.

Itdatesfromthemiddleofthe18th centurywhatonecouldcallthefirstwaveofBrazilian
popularmusicintheinternationalscenario,itsfirstcontributiontoitscreation.This
happenedwithfofa,asalreadystudiedadancemusicoflowclassAfricanorigin
populationinBahiasoondiffusedinmanycentersofthethenPortuguesecolony.
Accordingsomeauthors,fofawasexportedtoPortugalwhereitsoonbecameanational
genre.Notethatthiscomprehensionisnotconsensual,beingcontestedbyotherauthors
whodefendaPortugueseoriginforthereferredgenre.ThesecondwaveofBrazilian
popularmusicintheworldhastodowiththealreadymentionedgenresofmodinhaand
lundu,whatdatesfromthelastquarterofthe18th century.Thescenarioagainiscentrally
constitutedbyBrazilandPortugal,withtheinterventionofthemusicalitiesofother
countriesas asalreadystudied FranceandItaly.Maxixeisathirdwavetobe
considered,itsinceptiondatingfromthesecondhalfofthe19th century.Duringthefirst
twotothreedecadesofthe20th centurythisgenreknewastrongdiffusioninEurope,
reachingRussia,FranceandGreatBritainamongothercountries(Tinhoro1990).The
triumphantstayofCarmenMirandaandhisfamouscombo"BandodaLua"duringthe
1940'suntil1954intheUnitedStatescanbeseenastheexpressionofafourthwaveof
Brazilianpopularmusicabroad.Baiowouldbeafifthexampleofexpansionof
Brazilianpopularmusicintheinternationalscenario.Duringtheearlier1950's,itwas
diffusedbyleadingorchestrasintheworld,integratingalsothesoundtrackofmany
foreignfilms.Finally,sincethe1960'sithasbeenconstantlypresentintheworld,
typicallythroughBossa,"MPB"trends particularly"ClubedeEsquina",
"Tropicalismo",thesocalledBrazilianJazzandmanyotherscirclesandindividuals.
Growinglythispresencehasbeenrecognized bothbymusiciansandscholars as
havingaconstitutiveroleforinternationalmusicalities.

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Arajo,Samuel.Brega("VulgarPopularMusic"):MusicandConflictinUrbanBrazil.
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"LatinAmericanMusicReview"9(1):5089,1988.

Bakhtin,Mikhail.ProblemsofDostoyevsky'sPoetics.AnnArbor:Ardis,1973.

Barbosa,AirtonLima,org.Debate:QueCaminhoSeguirnaMsicaPopularBrasileira?
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Brasileira"7:375385(1966).
Borges,Mrcio.OsSonhosnoEnvelhecem:HistriasdoClubedaEsquina("Dreamsdo
notGetOld:Storiesof'Corner'sClub'").SoPaulo:Gerao,1996.

CardosodeOliveira,Roberto.Identidade,EtniaeEstruturaSocial("Identity,Ethnic
GroupsandSocialStructure").SoPaulo:Pioneira,1976.

Castro,Ruy.AOndaqueseErgueunoMar:NovosMergulhosnaBossaNova("The
WaveThatRaisedfromtheSea:NewStudiesonBossaNova").SoPaulo:Companhia
dasLetras,2001.

Comblin,Joseph.AIdeologiadaSeguranaNacional("TheIdeologyofNational
Security").RiodeJaneiro:CivilizaoBrasileira,1980.

Cyntro,SylviaHelena,ed.AFormadaFestaTropicalismo:ExplosoeseusEstilhaos
("TheFormoftheFeastTropicalism:TheExplosionanditsShrapnels").Braslia:
EditoraUniversidadedeBraslia,2000.

Dapieve,Arthur.BRock:ORockBrasileirodosAnos80("BrazilianRockofthe
1980's").SoPaulo:Editora34,1995.

Dreyfus,Dominique.VidadoViajante:ASagadeLuizGonzaga("TheTraveler'sLife:
LuisGonzaga'sSaga").SoPaulo:Editora34,1996.

Dunn,Christopher.TropicliaandtheEmergenceofaBrazilianCounterculture.Chapel
Hill:TheUniversityofNortyCarolinaPress,2001.

Essinger,Silvio.Punk:AnarquiaPlanetriaeaCenaBrasileira("Punk:Planetary
AnarchyandtheBrazilianScene").SoPaulo:Editora34,1999.

Fres,Marcelo.JovemGuarda:EmRitmodeAventura("'YoungGuard:InRhythmof
Adventure".SoPaulo:Editora34,2000.
Galvo,Luiz.Anos70:NovoseBaianos("The1970's:NewandBahians").SoPaulo:
Editora34.1997.

Ges,Fredde.OPasdoCarnavalEltrico("TheCountryofElectricCarnival").So
Paulo:Corrupio,1982.

Guerreiro,Goli.ATramadosTambores:AMsicaAfroPopdeSalvador("TheDrums'
Scheme:Salvador'sAfricanPopMusic").SoPaulo:Editora34,2000.

Lordo,Joo.EraumaVez...ATeleviso("OnceuponaTime...Television").SoPaulo:
Alegro,2000.

Maciel,LuizCarlos.GeraoemTranse:MemriasdoTempodoTropicalismo
("GenerationinTrance:MemoriesoftheTimeofTropicalismo").RiodeJaneiro:Nova
Fronteira,1996.

Maltz,BinaFriedmanetalli.AntropofagiaeTropicalismo("Cannibalismand
Tropicalismo").PortoAlegre:EditoradaUniversidadeFederaldoRioGrandedoSul,
1993.

Marchetti,Paulo.ODiriodaTurma19761986:AHistriadoRockdeBraslia("The
Gang'sDiary19761986:TheHistoryofBrasilia'sRockMusic").SoPaulo:Conrad,
2001.

Martins,Rui.ARebelioRomnticadaJovemGuarda("TheYoungGuard'sRomantic
Rebellion").SoPaulo:EditoraFulgor,1966.

Mello,ZuzaHomemde.AEradosFestivais:UmaParbola("TheFestivals'Era:A
Parable").SoPaulo:Editora34,2003.
Miller,Sidney.OsFestivaisnoPanoramadaMsicaPopularBrasileira("TheFestivalsin
thePanoramaofBrazilianPopularMusic"),"RevistaCivilizaoBrasileira"17:235243
(1968).

Oliveira,AllandePaula.OTroncodaRoseira:PorumaAntropologiadaViolaCaipira
("TheRoseTree'sTrunk:Towardan Anthropologyof'Caipira'Viola").Masterthesisin
SocialAnthropology.UniversidadeFederaldeSantaCatarina,2004.

Piedade,AccioTadeudeCamargo.BrazilianJazzandFrictionofMusicalities,in"Jazz
Planet",E.TaylorAtkins,ed.,Jackson:UniversityPressofMississippi,pp.4158,2003.

Pinheiro,LusRobertoMartins.RupturaeContinuidadenaMPB:AQuestodaLinha
Evolutiva("RuptureandContinuityin'MPB':TheQuestionofthe'EvolutionaryLine'").
MasterthesisinSocialAnthropology.UniversidadeFederaldeSantaCatarina,1992.

Pugialli,Ricardo.NoEmbalodaJovemGuarda("UnderYoungGuard'sGroove").Rio
DeJaneiro:AmpersandEditora,1999.

Ramalho,ElbaBraga.LuizGonzaga:ASntesePoticaeMusicaldoSerto("Luiz
Gonzaga:TheBackland'sPoeticalandMusicalSynthesis").SoPaulo:TerceiraMargem,
2000.

Ribeiro,Solano.PrepareseuCorao("PrepareyourHeart").SoPaulo:Gerao
Editorial2002.

Santaella,Lcia.Convergncias:PoesiaConcretaeTropicalismo("Convergences:
ConcretePoetryandTropicalismo").SoPaulo:Nobel,1986.

Tvola,Arthurda.40AnosdeBossaNova("FortyYearsofBossaNova").Riode
Janeiro:Sextante,1998.
Teles,Jos.DoFrevoaoManguebeat("From'Frevo'to'Manguebeat'["SwampRock"]).
SoPaulo:Editora34,2000.

Tinhoro,JosRamos.MsicaPopular:UmTemaemDebate("PopularMusic:ATheme
inDebate").RiodeJaneiro:Saga,1966.

Trotta,FelipeMendes.TitnicosCaminhos:UmaInterpretao("TitanicPaths:An
Interpretation").RiodeJaneiro:Gryphus,1995.

Vasconcelos,Ary.PanoramadaMsicaPopularBrasileira("PanoramaofBrazilian
PopularMusic").SoPaulo:Martins,1964.2volumes.

Veloso,Caetano.VerdadeTropical("TropicalTruth").SoPaulo:CompanhiadasLetras,
1997.
.CarmenMirandadada.in"BrazilianPopularMusicandGlobalization",
CharlesA.PerroneandChristopherDunn,eds.Gainesville:UniversityPressofFlorida,
2001,pp.3945.

Vieira,S.OSertoemMovimento("TheBacklandinMovement). SoPaulo:
Annablume,2000.

Vilarino,RamonCasas.AMPBemMovimento:Msica,FestivaiseCensura("MPBin
Movement:Music,FestivalsandCensorship").SoPaulo:EditoraOlhod'gua,1999.

Discography

1.Fromthesecondhalfofthe18thcenturytothefirstofthe19th

GrupoAnticlia("AnticliaGroup").Modinhaelundu:Bahiamusical,sculosXVIIIe
XIX. [ModinhaandLundu:MusicinBahiaduringthe18thand19thCenturies].LP
CentrodeEstudosBaianosUFBA.nNSLP0484.1984:Brazil
2.Fromthesecondhalfofthe19thcenturytothefirsttwodecadesofthe20th

PatpioSilva.LPEMIODEONC10128. 1977:Brazil

Bahiano.LPEMIODEONC10129. 1977:Brazil

EduardodasNeves.LPEMIODEONC10131.1977:Brazil.

Cadete.LPEMIODEONC10132.1977:Brazil.

CatulodaPaixo/CndidodasNeves.LPAbrilCulturalHMPB37.1971:Brazil

ChiquinhaGonzaga.Amaestrina.[TheMaster].CDRevivendoRVCD138.2002:Brazil

OitoBatutas. PixinguinhanotempodosOitoBatutas.[PixinguinhaattheTimeof'Oito
Batutas'].CDRevivendo.RVCD064.2001:Brazil

ValsasBrasileiras.[BrazilianWaltzes].CDRevivendoRVCD048.2001:Brazil

3.PlazaOnze's("Eleven")andthe1920'sSamba

Donga.AmsicadeDonga.[Donga'sMusic].LPMarcusPereira10048.1974:Brazil.

Sinh.LPAbrilCulturalHMPB33.1971:Brazil.

AraciCortes.LPFunarte358404004.1984:Brazil.

4.CariocaCarnivalmusic
MeiosculodeCarnavalCariocaVol1:19151933.[HalfCenturyofCarnivalofRiode
Janeiro:19151933]. LPEMIODEONC10100.1977:Brazil.

MeiosculodeCarnavalCariocaVol2:19331939.[HalfCenturyofCarnivalofRiode
Janeiro:19331939]. LPEMIODEONC10101.1977:Brazil.

MeiosculodeCarnavalCariocaVol3:19391951.[HalfCenturyofCarnivalofRiode
Janeiro:19391951]. LPEMIODEONC10102.1977:Brazil.

MeiosculodeCarnavalCariocaVol4:19511965.[HalfCenturyofCarnivalofRiode
Janeiro:19511965].LPEMIODEONC10103. 1977:Brazil.

5.Estcio'sSamba:

IsmaelSilva.LPAbrilCulturalHMPB12.1971:Brazil.

IsmaelSilva.OSambanavozdosambista.[SambaintheSinger'sVoice].LPSinter
1055.1955:Brazil.

AracydeAlmeida.CanesdeNoelRosacomAracydeAlmeida.[NoelRosa'sSongs
SungbyAracydeAlmeida].LPContinentalLPP10.1955:Brazil.

Noel Rosa.CoisasNossas.[OurThings].CDRevivendoRVCD106.2000:Brazil

6.Sambacano(1930's1950's).

6.a. Songwriters:

WilsonBatista.LPAbrilCulturalHMPBs.n.1982:Brazil.

OrestesBarbosa.LPAbrilCulturalHMPB23.1971:Brazil.
CustdioMesquita.LPAbrilCulturalHMPB29.1971:Brazil.

AryBarroso. EncontrocomAry:umbatepapocomomaiorcompositorbrasileiro.[An
EncounterwithAry:aChatwiththebiggestBraziliancomposer].LPOdeon034422435.
1957:Brazil

AryBarroso.LPAbrilCulturalHMPB5.1971:Brazil.

DorivalCaymmi.LPOdeonMOFB3011.1957:Brazil.

Caymmi.LPOdeonMOFB3150.1963:Brazil.

LupiscnioRodrigues.HumDeus.[GodExists].CDRevivendoRVCD104. 2000:
Brazil

Jamelo.JamelointerpretaLupiscnio.[JamelosingsLupiscnio].LPContinentalLPK
20153.1968:Brazil.

AtaulfoAlves.LPPolydorLPNG44103.1967:Brazil.

AtaulfoAlves.LPRGE5103.1961:Brazil.

GeraldoPereira.LPAbrilCulturalHMPB31.1971:Brazil.

HeriveltoMartins.LPAbrilCulturalNHMPB27.1978:Brazil.

MonsuetodeMenezes.MoranafilosofiadossambasdeMonsueto. [ThePhilosophyof
Monsueto'ssambas].LPOdeonMOFB3277.1962:Brazil.

DoloresDuran.LPCopacabana12411/12412.1979:Brazil.
BillyBlanco.LPAbrilCulturalHMPB32.1971:Brazil.

NoraNey.Ningummeama[NobodyLovesMe].LPRCAVictorBBL1066.1960:
Brazil.

PauloVanzolini.PauloVanzoliniporelemesmo.[PauloVanzolinibyHimself].LP
Eldorado14790340.1980:Brazil.

AdoniranBarbosa.LPOdeon064422868D.1980:Brazil.

6.b.Interpreters(GreatRadioSingers).

VicenteCelestino.VicenteCelestinoesuascanesclebres.[VicenteCelestinoandHis
FamousSongs].LPRCAVictorBLP3042.1957:Brazil.

CarmemMiranda.CDRevivendoRVCD003.1999:Brazil

DalvadeOliveira.Saudade.[Nostalgy].CDRevivendoRVCD050.1999:Brazil

FranciscoAlves.FranciscoAlves.CDRevivendoRVCD001.1999:Brazil

MrioReis.Jura.[Swear].CDRevivendoRVCD157.2002:Brazil

OrlandoSilva.CDRevivendoRVCD002.1999:Brazil

CiroMonteiro. DeVincuseBadenespecialmenteparaCiroMonteiro.[FromVincius
andBadenEspeciallytoCiroMonteiro].LPElencoME24. 1964:Brazil.

ElizeteCardoso.CanodoAmorDemais.[GreatLoveSong].LPFesta6002.1958:
Brazil.
7.Sambadebreque[untranslatable]:

MoreiradaSilva.MoreiradaSilvaeosambadebreque.[MoreiradaSilvaand'sambade
breque'].LPCID4035.1977:Brazil.

8.Sambaexaltao[SambaofNationalPride]

ManoDciodaViola.ManoDciodaViola:captulomaiornahistriadosamba.[Mano
DciodaViola:AGreatChapterinSamba'sHistory].LPTapecarTSSS006.1974:
Brazil.

9.Bolero

CaubyPeixoto.OsucessonavozdeCaubyPeixoto.[TheSucessinCaubyPeixoto's
Voice]. LPRCABBL1096.1960:Brazil.

ngelaMaria.ABrasileirssimangelaMaria.[TheGreatBrazilianngelaMaria].LP
Copacabana11469.1966:Brazil.

SlvioCaldas.Serenata.[Serenade].LPCBSLPCB41003.1977:Brazil

NelsonGonalves.SeleodeOuro. [GoldSelection].LPRCAVictor.BBL 1061:Brazil.

AltemarDutra. SentimentalDemais.[TooMuchSentimental].LPOdeon.MOFB3114.
1964:Brazil.

10.VocalEnsembles.

Osgrandesconjuntosvocaisbrasileiros.[TheGreatBrazilianVocalGroups].LP
Continental119405028.1975:Brazil.
OsCariocas.OmelhordeOsCariocas.[TheBestof'OsCariocas'].LPColumbia37110.
1959:Brazil.

AnjosdoInferno.Osanjosdoinferno.[TheHell'sAngels].LPContinental119405
008.1975:Brazil.

QuartetoemCy.LPElencoME33.1966:Brazil.

MPB4.BonsTempos,hein?!.[GoodTimes!].LPPhilips6349.409.1979:Brazil.

11.CaipiraMusic.

RaulTorreseFlorncio.OsgrandessucessosdeRaulTorreseFlorncio.[TheGreat
SucessesofRaulTorresandFlorncio].LPChanteclerS17004.1968:Brazil.

AlvarengaeRanchinho.LPOdeon052422061.1977:Brazil.

TonicoeTinoco. Recordandonaviola.[RememberingwiththeTenStringsGuitar].LP
Chantecler9149.1972:Brazil.

TioCarreiroePardinho.ViolaCabocla.[RuralTenStringsGuitar]. LPChantecler
CALP8049.1973:Brazil.

12.Baio,xote,xaxado,rojoandotherNortheasterngenres.

LuizGonzaga.SanfonaDourada.[GoldenAccordion].CDRevivendoRVCD051.2000:
Brazil

LuizGonzaga/HumbertoTeixeira.LPAbrilCulturalNHMPB11.1978:Brazil.

JoodoVale.OPoetadoPovo.[ThePeople'sPoet].LPPhilips632773L.1965:Brazil.
JacksondoPandeiro.Umnordestinoalegre.[AHappyNortheasternMan].LPChantecler
2.10407183.1977:Brazil.

13.Sambas,frevosandmaracatusfromPernambuco

Capiba80anos.[Capiba,80years].LPFunarteEE84003.1984:Brazil.

Capiba/NelsonFerreira.LPAbrilCulturalHMPB44.1972:Brazil

NelsonFerreira.Carnaval:suahistria,suaglria.[Carnival:itshistoryandglory].Vol.
23.CDRevivendoRVCD174.2002:Brazil

14.Bossanova'sAncestors:

JohnnyAlf.Oqueamar.[Whatloveis].LPRCA1300059.1989:Brazil.

DickFarney.Ocomeo:19441952. [TheBeggining:19441952].LPPhonodisc
034405487.1988:Brazil.

LcioAlves.LcioAlvesinterpretaDoloresDuran.[LcioAlvessingsDoloresDuran].
LPEMIODEON10072.1977:Brazil.

15.Bossanova:

JooGilberto.ChegadeSaudade.[NoMoreBlues].LPOdeon3073.1959:Brazil.

.Oamor,osorrisoeaflor.[Love,SmileAndFlower].LPOdeon3151,
1960:Brazil.

TomJobim.ThecomposerofDesafinadoplays.LPVerve23204502.1963:USA
.Wave.LPA&M2002.1967:USA.

.MatitaPer.LPPhilips6485101.1973:Brazil.

CarlosLyra.BossaNova.LPPhilips630409.1960:Brazil.

RobertoMenescal.AbossanovadeRobertoMenescal.[RobertoMenescal'sBossa
Nova].LPElencoME3.1963:Brazil.

SylviaTelles.OtalentodeSylviaTelles.[SylviaTelles'sTallent].LPEMIODEON
1527909481.1989:Brazil.

16.MPBandProtestSong,19601969):

ElisReginaeJairRodrigues.2nabossa.[TwoinBossa].LPPhilips632765L.1965:
Brazil.

ElisRegina.AartedeElisRegina.[TheArtofElisRegina].LPFontana6470539/40.
1975:Brazil.

JorgeBen.SambaEsquemaNovo.[NewKindofSamba].LPPhilips632161.1963:
Brazil.

EduLobo.AartedeEduLoboporEduLobo.[TheArtofEduLobobyHimself].LP
ElencoME19.1964:Brazil.

.ArenacontaZumbi.[ArenaplaysZumbi].LPPremier1042.1965:Brazil.

NaraLeo,ZKtieJoodoVale.Opinio.[Opinion].LPPhilips632775.1965:Brazil.

SrgioRicardo. Umsr.talento.[Mr.Talent].LPElencoM7.1963:Brazil.
VinciuseBadenPowell.Osafrosambas.[TheAfroSambas].LPFormaFM16.1966:
Brazil

WilsonSimonal.Anovadimensodosamba.[Samba'sNewDimension].LPOdeon
3396.1964:Brazil.

ChicoBuarquedeHolanda.LPRGE303.0051/052.1977:Brazil.

GeraldoVandr.CantoGeral.[GeneralSinging].LPOdeonMOFB3514.1968:Brazil.

17.Tropicalismo.

GilbertoGil.LPPolygram6488147.SrieReprise.1968:Brazil.

CaetanoVeloso.LPPhilips765.026L.1967:Brazil.

TropicliaouPanisetCircensis.[TropicaliaorPanisetCircensis].LPPolygram
6488153.1968:Brazil.

GalCosta.Legal.[Cool].CDUniversal5102212.1970:Brazil.

JardsMacal.LPPhilips6349045.1972:Brazil.

Mutantes.LPPhonogramLPNG44026.1969:Brazil.

18.JovemGuarda

RobertoCarlos.RobertoCarlosemritmodeaventura. [RobertoCarlosinRhythmof
Adventure].LPCBS37525.1967:Brazil.
.OinimitvelRobertoCarlos.[TheUnimitatableRobertoCarlos].LP
CBS37585.1968:Brazil.
JovemGuarda.LPCBS37432.1965:Brazil.

19.OldGuardSamba.

NelsonCavaquinho.LPRCA1030047.1976:Brazil

Candeia.Ax!Genteamigadosamba.[Ax!FriendsofSamba].LPAtlanticBR20032.
1978:Brazil.

Cartola.LPMarcusPereira.MPL9302.1974:Brazil.

Cartola.LPMarcusPereiraMPL9325.1976:Brazil.

NelsonSargento. EncantodePaisagem.[WonderfulLandscape].LPKuarupKLP025:
Brazil.

NelsonCavaquinho,Candeia,GuilhermedeBritoeEltondeMedeiros.4grandesdo
samba.[FourBigNamesofSamba].LPRCA1030210.1977:Brazil.

ClementinadeJesus.LPEMIODEONSMOFB3899.1976:Brazil.

Monarco.LPEldorado.32800361.1980:Brazil

DonaIvoneLara.Quem sambafica?Fica.[WhoDancesCanStay?Yes].LPOdeon
SMOFB3818.1974:Brazil.

20. MPB:1970untilthepresent

CaetanoVeloso. Transa.[Nicerelation].LPPhilips6349026.1972:Brazil

.OutrasPalavras.[OtherWords].LPPhilips6328303.1981:Brazil.
ChicoBuarque.Construo.[Creation].LPPhilips6349017. 1971:Brazil.

.Vida.[Life].LPPhilips6349435.1980:Brazil.

Elomar.Naquadradadasguasperdidas.[Intheregionoflostwaters]. LPMarcus
PereiraMPA9406/9407.1979:Brazil.

GalCosta.ATodoVapor. [WithFullPower].LPPhilips6349021.1971:Brazil.

.GalcantaCaymmi.[GalsingsCaymmi].LPPhilips6349.174.1976:
Brazil.

GilbertoGil.Expresso2222.[Express2222].LPPhilips6349034.1972:Brazil.

.Refazenda.[RuralAgain].LPWEA9951361.1975:Brazil.

Gonzaguinha.LPEMIODEON064422841D1978:Brazil.

JooBosco. TirodeMisericrdia.[MercysShot].LPRCAVictor1030228. 1977:

Brazil.

.Caaraposa. [Fox Hunting].LPRCAVictor.1030112.1975:Brazil.

MariaBethnia.PssaroProibido.[ForbiddenBird].LPPhilips6349188.1976:Brazil.

EduLobo.Limitedasguas.[WatersEdge].LPContinental135404001.1984:Brazil.

ElisRegina.FalsoBrilhante.[UntrueShine].LPPhilips6349159.1976:Brazil.

IvanLins.NovoTempo.[NewTimes].LPEMI064422872. 1980:Brazil.
TimMaia,CassianoeHildon.VelhosCamaradas.[OldFriends].CDPolydor
73145496142.2002:Brazil.

NovosBaianos.AcabouChorare.[Cryingisover,baby!].LPSomLivreSSIG6004.
1972:Brazil.

RitaLee.LPSomLivre4036217.1980:Brazil.

JorgeBen.fricaBrasil.[AfricaBrazil].LPPhilips6349187.1976:Brazil.

Fagner.Manera,Frufru,Manera.LPPhilips6349066.1973 :Brazil.

.Beleza.[Beauty].LPColumbia138164.1979:Brazil.

WalterSmetak.Smetak.[Smetak].LPPhilips6349110.1975:Brazil.

JairRodrigues.Comacordatoda. [Withallpower].LPPhilips6349055.1972:Brazil

LuizMelodia.Claro.[Clear].LPContinental135404032.1987:Brazil.

MoraesMoreira.Cidado.[Citizen].LPSony188.191/1464191. 1991:Brazil.

NeyMatogrosso.Bandido.[Bandit].LPContinental135701002.1980:Brazil.

S&Guarabyra.10anosjuntos. [Tenyearstogether].LPRCAVictor1030569.1983:
Brazil.

Belchior.LPWEABR36027.1977:Brazil.

Djavan.Meulado.[Myside].LPCBS16259. 1986:Brazil.
RenatoTeixeira.Amora[Mullberry].LPRCAVictor1030287. 1979:Brazil.

GuilhermeArantes.LPWEABR36105.1979:Brazil.

BocaLivre.Folia[Folly].LPPhilips6328366.1981:Brazil.

ElbaRamalho.AvedePrata [BirdofSilver].LPEpic235027.1979:Brazil.

MariaCreuza.DoceVeneno.[SweetPoison].LPRCAVictor.1030251. 1982:Brazil.

FafdeBelm.BanhodeCheiro.[BathofSmell].LPPhilips6349381.1978:Brazil.

NanaCaymmi.AtrsdaPorta.[Behindthedoor].LPCid8014.1977:Brazil.

KleitoneKledir.LPPolygram8299441.1986:Brazil.

ZiziPossi.Prsempreemaisumdia.[Foreverandonemoreday].LPPhilips81408212.
1983:Philips.

SandraS.LPSomLivre4036313.1984:Brazil.

EmlioSantiago.Maisqueummomento.[Morethanamoment].LPPhilips8140831.
1983:Brazil.

Joanna.Vidamor.[Lifelove].LPRCA7100543.1982:Brazil.

Marina.Virgem.[Virgin].LPPhilips834124L 1987:Brazil.

EdMottaeConexoJaperi.[EdMottaandtheJaperiConection]LPBMG00387.1988:
Brazil.
JaneDuboc.Feliz.[Happy].LPContinental101404355.1988:Brazil.

LeilaPinheiro.Beno,BossaNova.[Blessme,BossaNova].LPPhilips8344561.
1988:Brazil.

AdrianaCalcanhoto.LPCBS177237/1.1990:Brazil.

CssiaEller.Dezdedezembro.[December10].CDUniversal0440668132.2001:Brazil.

MnicaSalmaso.Voadeira.[RapidBoat].CDPauBrasilMusic278103.2000:Brazil.

ArnaldoAntunes.Paradeiro.[Whereabouts].CDBMG7432187462.2000:Brazil.

FernandaAbreu.Urbana.[Urban].CDEMI5282322.2000:Brazil.

MarisaMonte.Mais.[More].CDEMI7960812.1991:Brazil

ZliaDuncan.Intimidade.[Intimity].CDWEA0630158362.1998:Brazil.

ChicoCsar.CDUniversal325912001442.2002:Brazil.

ZecaBaleiro.Lricas.[Lyric].CDWEA325911001562.1991:Brazil.

CarlinhosBrown.BahiadoMundo:MitoeVerdade.[BahiaoftheWorld:mythand
truth]. CDEMI8504362. 2002:Brazil.

MarisaMonte,ArnaldoAntuneseCarlinhosBrown.Tribalistas.[Tribalist].CDEMI
5421492.2002:Brazil.

MariaRita.CDWEA5050466799920.2003:Brazil.
21. ClubedaEsquina(Corner'sClub)

MiltonNascimentoeLBorges. ClubedaEsquina.[CornersClub].LPEMISMOAB
6005.1972:Brazil.

MiltonNascimento. Minas.[Minas].LPEMI06482325.1975:Brazil.

BetoGuedes.Apginadorelmpagoeltrico.[TheElectricPageLightning]LPEMI
064422827.1977:Brazil.

22. Pernambuco:1970'sto"Manguebeat"

AlceuValena.CoraoBobo.[SillyHeart].LPAriola201601.1980:Brazil.

GeraldoAzevedo.LPSomLivre4036115.1977:Brazil.

ZRamalho.Frevoador.[FlyingFrevo].LPColumbia177269/1.1992:Brazil.

Lenine.FalangeCanibal.[CannibalCrowd].CDBMG82816527452.2002: Brazil.

ChicoScienceeNaoZumbi.Dalamaaocaos.[FromMudtoChaos].CDChos2
464476.1994:Brazil.

23. BregaMusic("Vulgar"Music).

NelsonNed.Aosromnticosdomundo.[Totheromanticsoftheworld].LPCopacabana
COELP41357.1974:Brazil.

Peninha.Emoes.[Emotions].LPPolygram2451132.1979:Brazil.
WanderleyCardoso.LPCopacabanaCOLP11745.1973:Brazil.

Wando.FantasiaNoturna.[NightFantasia].LPSomLivre403.6257.1982:Brazil.

ReginaldoRossi.OmelhordeReginaldoRossi.[ThebestofReginaldoRossi].CD
Columbia61942.2003:Brazil.

24.WhenSambachangedtoSambo(19701980)andPagode.

Alcione.AlertaGeral.[GeneralAlarm].LPPhilips6349383. 1978:Brazil

BethCarvalho.Nosbotequinsdavida.[Inthepubsoflife].LPRCAVictor.1030218.
1977:Brazil.

ClaraNunes.Nao.[Nation].LPEMI062421236.1982:Brazil

AntnioCarloseJocafi.Cadasegundo.[Eachsecond].LPRCA103.0041.1972:Brazil.

BenitodiPaula.LPCopacabanaCOELP41493.1972:Brazil

Agep.Moroondenomoraningum.[Iliveonwherenobodylive].LPContinental
101404117.1975:Brazil.

JooNogueira.Wilson,Geraldo,Noel.[Wilson,Geraldo,Noel].LPPolydor2451170.
1981:Brazil.

MartinhodaVila.MaravilhadeCenrio.[WonderfulScenario].LpVictor1100008.
1975:Brazil.

LuizAyro.LPEMISMOFB3907.1976:Brazil.
AlmirGuineto.Debemcomavida.[Happywithlife].LPRCA3206124.1991:Brazil.

FundodeQuintal.Papodesamba.[SambaChat].CDBMG74321861582.1994:Brazil.

BezerradaSilva.Meubomjuiz.[Mygoodjudge].CDCid00671/2.2003:Brazil.

RaaNegra.Avidaporumbeijo.[LifeforaKiss]CDUniversal04400180072.2000:
Brazil.

ZecaPagodinho.DeixaClarear.[Letitgetclearer].CDUniversal5340782.2001:
Brazil.

25.SertanejaMusic.

ChitozinhoeXoror.OsmeninosdoBrasil.[TheboysfromBrazil].LPColumbia
177269/1.1992:Brazil.

Milionrio&ZRico.MinhaPrece.[Mypray].LPChantecler171405654.1985:Brazil.

ZezdiCamargo&Luciano.CDColumbia2502581.1995:Brazil.

26.Bahia'sCarnival

MargarethMenezes.CDPolygram8494412.1991:Brazil.

LuizCaldas.Magia.[Magic].LPPolygram8265831.1985:Brazil.

DanielaMercury.LPEldorado.225.91.0635. 1991:Brazil.

ChicletecomBanana.FBrasileira.[BrazilianFaith].LPContinental101404328.1987:
Brazil.
IveteSangalo.ClubeCarnavalescoInocentesemProgresso. [CarnivalClubInnocentsin
Progress].CDUniversal60249808705.2000:Brazil.

27.Brazilianrockmusic(1970untilthepresent).

SecoseMolhados.LPContinental.LP10112.1973:Brazil.

RaulSeixas.Gita.LPPhilips6349113.1974:Brazil

RitaLeeeTuttiFrutti.FrutoProibido.[ForbiddenFruit].LPSomLivre4106006.1975:
Brazil.

Blitz.AsaventurasdaBlitz.[TheBlitz'sAdventures].LPEMI422919D. 1982:Brazil.

ParalamasdoSucesso.CinemaMudo.[MuteMovie].LPEMI421250.1985:Brazil.

LegioUrbana.Quepaseste. [Whatcountryisitthis].LPEMI0687488201.1987:
Brazil

UltrajeaRigor.Nsvamosinvadirsuapraia.[Let'stakeyourbeach].LPWBBR28128.
1985:Brazil.

Tits.CabeaDinossauro.[Dinosaur'sHead].LPWEA6106014.1986:Brazil.

Skank.CDChaos850191/2.1993:Brazil.

PatoFu.Temmasacabou[Itexistsbutit'sover].CDBMG74321395702.1996:Brazil.

Jotaquest. Oxignio.[Oxygen].CDChaos2495703.2000:Brazil.
28.BrazilianInstrumentalMusic(incluindoochoro).

pocadeOuro(GoldTimes).Vibraes.[Vibrations].LPRCAVictor1383.1967:
Brazil

AltamiroCarrilho.50anosdechorinho.[Fiftyyearsof'chorinho'].LPPhilips512122:
Brazil.

DilermandoReiseWaldirAzevedo.Dilermando/Waldir.LPSeta110405003.1981:
Brazil

NemPingoD'guaeAntnioAdolfo.JooPernambuco.LPFunarte358404002.
1983:Brazil.

PatpioSilva.LPFunarte358404006.1983:Brazil.

RafaelRabeloeRobertoGnatalli.TributoaGaroto.[ATributetoGaroto].LPFunarte
PA8201.1982:Brazil.

ArthurMoreiraLima,AbelFerreiraepocadeOuro[GoldTimes].ChorandoBaixinho.
[Cryingsoftly]LPKuarupKLP005.1978:Brazil.

BandadoCorpodeBombeiros[FiremenCorpsBand]andBandadaCasaEdison[Edison
House'sBand].CDBiscoitoFino06011.2002:Brazil.

PrincpiosdoChoro.[Choro'sPrinciples].CDBiscoitoFino[FineCookie]BF6001a
60015.2002:Brazil

LaurindodeAlmeidaeRadamsGnatalli.SutePopularBrasileira.[BrazilianPopular
Suite].LPContinentalLPP36.1970:Brazil.
SeverinoArajoeOrquestraTabajara.LpAmazona803418.1986:Brazil.

ZimboTrio.Zimbo.LPRGE3030033. 1976:Brazil

TambaTrio.LPPhilips765041.1968:Brazil.

HermetoPaschoal.AmsicalivredeHermetoPaschoal.[ThefreemusicofHermeto
Paschoal].LPFontana8246211. 1968:Brazil.

HermetoPaschoal.HermetoPaschoaleGrupo.[HermetoPaschoalandBand].LPSom
daGenteSDG014. 1983:Brazil.

SomImaginrio.MatanadoPorco.[ThePig'sKilling].LPEMISC10096. 1973:Brazil.

CsarCamargoMarianoeWagnerTiso.Todasasteclas.[Allkeyboards'keys].LP
Barclay81528613.1983:Brazil.

HeraldodoMonte.CordasVivas[LiveStrings].LPSomdaGenteSDG015.1983:
Brazil.

EgbertoGismonti.DanadasCabeas.[Head'sDance].LPEMI61137.1977:Brazil.

EgbertoGismonti.Circense.[Circus].LPEMI422861.1979:Brazil.

UlissesRocha.Algumacoisaavercomosilncio.[Somethingrelativetosilence].LP
Visom599404028.1986:Brazil.

TrioD'Alma.D'Alma(Fromthesoul).LPSomdaGente[OurPeople].SDG019.1983:
Brazil.

AndrGeraissati.7989.LPWEA6709021.1989:Brazil.
PauloFreire.RioAbaixo:ViolaBrasileira[Downriver:Braziliantenstringsguitar].CD
PauBrasilPB001.1995:Brazil.

RenatoAndrade.Amagiadaviola.[Themagicoftenstringsguitar].LPChantecler
207405305.1987:Brazil.

RobertoCorra.Urboro[Urboro].CDViolaCorra107384. 1997:Brazil.

Duofel.AscoresdoBrasil.[ThecolorsofBrazil].CDVelas11V063.1995:Brazil.

MaurcioCarrilho.CDAcariAR6.2001:Brazil.

PauloMoura. EstaoLeopoldina.[LeopoldinaStation].CDAB1000.1994:Brazil.

CamadeGato.AmendoinTorrado.[ToastedPeanut].CDAlbatroz3306125. 1993:
Brazil.

ToninhoCarrasqueira.ToninhoCarrasqueiratocaPixinguinha.[ToninhoCarrasqueira
playsPixinguinha].CD67814.2000:Brazil.

TecoCardoso. MeuBrasil.[MyBrazil].CDNcleoContemporneoNC003.1999:
Brazil.

RobertoSioneToninhoFerragutti.Oferenda[Offering].CDKuarupES001.1999:
Brazil.

RauldeBarros.Osomdagafieira.[Thesoundofgafieira].LPCid4064.1979:Brazil.

QuintetoArmorial.SeteFlechas.[SevenArrows].LPMarcusPereiraMPA9416.1980:
Brazil
NanVasconcelos.Amazonas.LPPhilips63449079.1973:Brazil.

Sivuca.LPCopacabanaCOLP12377.1979:Brazil.

PauBrasil.LPContinental133404002.1983:Brazil.

RenatoBorghetti.LPSomLivre4066030.1984:Brazil.

Victor AssisBrasil.LPMagicMusicMM3010.1974:Brazil.

LeGandelman.Leo.LPCBS300501. 1987:Brazil.

Uakti.21.CDSonhoseSons(DreamsandSounds]UAK006.1996:Brazil.

DiscographicalReferences

Baianoeseuconjunto[Baianoandhisband].PeloTelefone[Byphone].78rpmOdeon
121322.1917:Brazil.

MrioReisandFranciscoAlves.SevocJurar[Ifyouswear].78rpmOdeon.10747.
1931:Brazil.

FranciscoAlves.FeitiodeOrao[IntheformofaPray].NoelRosa:FeitiodaVila
[NoelRosa:VillagesWizard].CDRevivendoRVCD052.2000:Brazil.

4AseseumCoringa[FourAcesandOneJoker]. Baio.78rpmOdeon12724.1946:
Brazil.

WaldyrAzevedo.Delicado[Delicate].Vsegostas:AdemildeFonseca,Jacobdo
BandolimeWaldyrAzevedo.[Doyoulikeit?:AdemildeFonseca,JacobdoBanbolim,
WaldyrAzevedo].CDRevivendoRVCD145.2001:Brazil.
DickFarney.Copacabana.Ocomeo:19441952.[Thebeggining:19441952].LP
Phonodisc034405487.1988:Brazil.

DickFarney.Tenderly.Ocomeo:19441952.[Thebeggining:19441952].LP
Phonodisc034405487.1988:Brazil.

DickFarney.Marina.Ocomeo:19441952.[Thebeggining:19441952].LP
Phonodisc034405487.1988:Brazil.

JohnnyAlf.CueMar[SkyandSea].Oqueamar.[Whatloveis].LPRCA1300059.
1989:Brazil.

JohnnyAlf.RapazdeBem[GoodBoy].Oqueamar.[Whatloveis].LPRCA
1300059.1989:Brazil.

ElizeteCardoso.ChegadeSaudade[Nomoreblues].CanodoAmorDemais.[Song
foranExcessiveLove].LPFesta6002. 1958:Brazil.

ElizeteCardoso.OutraVez[OnceMore]. CanodoAmorDemais.[Songforan
ExcessiveLove].LPFesta6002.1958:Brazil.

JooGilberto.ChegadeSaudade[Nomoreblues].ChegadeSaudade[Nomoreblues].
LPOdeon3073.1959:Brazil.

JooGilberto.Desafinado[OffKey].ChegadeSaudade[Nomoreblues].LPOdeon
3073.1959:Brazil.

JooGilberto.Sambadeumanotas[Onenotesamba].Oamor,osorrisoeaflor[The
love,thesmileandtheflower].LPOdeon3151.1960:Brazil.
ElisRegina.Arrasto[Fishing].EduLobo.LPAbrilCulturalHMPB20.1971:Brazil.

MiltonNascimento.Travessia[Journey].Travessia[Journey].LPSomLivre403.6152.
1978:Brazil.

ChicoBuarque.ABanda[TheBand].ChicoBuarquedeHolanda.LPRGE303.0051.
1977:Brazil.

JairRodrigues.Disparada[Shooted].OsFestivaisdaRecord [RecordsFestivals].LP
Fontana6470513.1974:Brazil

GalCosta.DivinoMaravilhoso[WonderfullyDivine].GalCosta.LPFontana
6470552.1975:Brazil.

RobertoCarlos.proibidofumar[SmokingProhibit].ProibidoFumar[NoSmoke].
CDColumbia850.085/2464045.1997:Brazil.

RobertoCarlos.OCalhambeque[TheBanger]. ProibidoFumar[SmokingProhibit].
CDColumbia850.085/2464045.1997:Brazil.
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1.MENEZESBASTOS,RafaelJosde.AOrigemdoSambacomoInvenodoBrasil:Sobreo"FeitiodeOraco"de
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3.WERNERDennis.PoliciaisMilitaresFrenteaosMeninosdeRua,1995.
4.WERNERDennis.AEcologiaCulturaldeJulianStewardeseusdesdobramentos,1995.
5.GROSSIMiriamPillar.MapeamentodeGruposeInstituiesdeMulheres/deGnero/FeministasnoBrasil,1995.
6.GROSSIMirianPillar.Gnero,ViolnciaeSofrimentoColetnea,SegundaEdio1995.
7.RIALCarmenSilvia.OsCharmesdosFastFoodseaGlobalizaoCultural,1995.
8.RIALCarmenSlvia.JaponsEstparaTVAssimcomoMulatoparaCerveja:lmagensdaPublicidadenoBrasil,
1995.
9.LAGROU,ElsjeMaria.CompulsoVisual:DesenhoseImagensnasCulturasdaAmazniaOcidental,1995.
10.SANTOS,SlvioCoelhodos.LideranasIndgenaseIndigenismoOficialnoSuldoBrasil,1996.
11.LANGDON,EJean.PerformanceePreocupaesPsModernasemAntropologia1996.
12.LANGDON,E.Jean.ADoenacomoExperincia:AConstruodaDoenaeseuDesafioparaaPrticaMdica,
1996.
13.MENEZESBASTOS,RafaelJosde.AntropologiacomoCrticaCulturalecomoCrticaaEsta:DoisMomentos
ExtremosdeExercciodaticaAntropolgica(EntrendioseIlhus),1996.
14.MENEZESBASTOS,RafaelJosde.MusicalidadeeAmbientalismo:EnsaiosobreoEncontroRaoniSting,1996.
15.WERNERDennis.LaosSociaiseBemEstarentreProstitutasFemininaseTravestisemFlorianpolis,1996.
16.WERNER,Dennis.AusnciadeFigurasPaternaseDelinqncia,1996.
17.RIALCarmenSilvia.RumoressobreAlimentos:OCasodosFastFoods,1996.
18.SEZ,OscarCalavia.HistoriadoresSelvagens:AlgumasReflexessobreHistriaeEtnologia,1996.
19.RIFIOTIS,Theophilos.NoscamposdaViolncia:DiferenaePositividade,1997.
20.HAVERROTH,Moacir.Etnobotnica:UmaRevisoTerica.1997.
21.PIEDADE,AccioTadeudeC.MsicaInstrumentalBrasileiraeFricodeMusicalidades,1997
22.BARCELOSNETO,Aristteles.DeEtnografiaseColeesMuseolgicas.HiptesessobreoGrafismoXinguano,
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23. DICKIE,MariaAmliaSchmidt.OMilenarismoMuckerRevisitado,1998
24. GROSSI,MrianPillar.IdentidadedeGneroeSexualidade,1998
25. CALAVIASEZ,Oscar.CampoReligiosoeGruposIndgenasnoBrasil,1998
26. GROSSI,MiriamPillar.DireitosHumanos,FeminismoeLutascontraaImpunidade.1998
27. MENEZESBASTOS,RafaelJosde.Ritual,HistriaePolticanoAltoXingu:ObservaoapartirdosKamayure
daFestadaJaguatirica(Yawari),1998
28. GROSSI,MiriamPillar.FeministasHistricaseNovasFeministasnoBrasil,1998.
29. MENEZESBASTOS,RafaelJosde.MsicasLatinoAmericanas,Hoje:MusicalidadeeNovasFronteiras,1998.
30. RIFIOTIS,Theophilos.ViolnciaeCulturanoProjetodeRenGirard,1998.
31. HELM,CecliaMariaVieira.OsIndgenasdaBaciadoRioTibagieosProjetosHidreltricos,1998.
32. MENEZESBASTOS,RafaelJosde.ApapWorldHearing:ANoteontheKamayurPhonoAuditorySystemand
ontheAnthropologicalConceptofCulture,1998.
33. SAZ,OscarCalavia.procuradoRitual.AsFestasYaminawa noAltoRioAcre,1998.
34. MENEZESBASTOS,RafaelJosde&PIEDADE,AccioTadeudeCamargo:SoprosdaAmaznia:Ensaio
ResenhasobreasMsicasdasSociedadesTupiGuarani,1999.
 35. DICKIE,MariaAmliaSchmidt.MilenarismoemContextoSignificativo:osMuckercomoSujeitos,1999.
36. PIEDADE,AccioTadeudeCamargo.FlautaseTrompetesSagradosdoNoroesteAmaznico:SobreaMsicado
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37. LANGDON,EstherJean.Sade,SabereseticaTrsConfernciassobreAntropologiadaSade,1999.
38. CASTELLS,AliciaNormaGonzlesde.VidaCotidianasobaLentedoPesquisador:OvalorHeursticodaImagem,
1999.
39. TASSINARI,AntonellaMariaImperatriz.OspovosIndgenasdoOiapoque:ProduodeDiferenasemContexto
IntertnicoedePolticasPblicas,1999.
40. MENEZESBASTOS,RafaelJosde.BrazilianPopularMusic:AnAnthropologicalIntroduction(PartI),2000.
41. LANGDON,EstherJean.SadeePovosIndgenas:OsDesafiosnaViradadoSculo,2000.
42. RIAL,CarmenSilviaMoraeseGROSSI,MiriamPillar.VivendoemParis:VelhosePequenosEspaosnuma
Metrpole,2000.
43. TASSINARI,AntonellaM.I.MissesJesuticasnaRegiodoRioOiapoque,2000.
44. MENEZESBASTOS,RafaelJosde.AuthenticityandDivertissement:Phonography,AmericanEthnomusicology
andtheMarketofEthnicMusicintheUnitedStatesofAmerica,2001.
45. RIFIOTIS,Theophilos.LesMdiasetlesViolences:PointsdeRepressurlaRception,2001.
46. GROSSI, Miriam Pillar e RIAL, Carmen Silvia de Moraes. Urban Fear in Brazil: From the Favelas to the Truman
Show,2001.
47. CASTELS,AliciaNormaGonzlesde.OEstudodoEspaonaPerspectivaInterdisciplinar,2001.
48. RIAL,CarmenSilviadeMoraes.1.ContatosFotogrficos.2.Manezinho,deofensaatrofu,2001.
49. RIAL,CarmenSilviadeMoraes.RacialandEthnicStereotypesinBrazilianAdvertising.2001
50. MENEZESBASTOS,RafaelJosde.BrazilianPopularMusic:AnAnthropologicalIntroduction(PartII),2002.
51. RIFIOTIS,Theophilos.AntropologiadoCiberespao.QuestesTericoMetodolgicassobrePesquisadeCampo
eModelosdeSociabilidade,2002.
52. MENEZESBASTOS,RafaelJosde.OndionaMsicaBrasileira:RecordandoQuinhentosanosde
esquecimento,2002
53. GROISMAN,Alberto.OLdicoeoCsmico:RitoePensamentoentreDaimistasHolandeses,2002

54.MELLO,MariaIgnezCruz.ArteeEncontrosIntertnicos:AAldeiaWaujaeoPlaneta,2003.

55.SEZOscarCalavia.ReligioeRestosHumanos.Cristianismo,CorporalidadeeViolncia,2003.

56.SEZ,OscarCalavia.UnBalanceProvisionaldelMulticulturalismoBrasileo.LosIndiosdelasTierrasBajasenel
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57.RIAL,Carmen.Brasil:PrimeirosEscritossobreComidaeIdentidade,2003.

58.RIFIOTIS,Theophilos.AsDelegaciasEspeciaisdeProteoMulhernoBrasileaJudiciarizaodosConflitos
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59.MENEZESBASTOS,RafaelJos.BrazilianPopularMusic:AnAnthropologicalIntroduction(PartIII),2003.