Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0003
K. Goldschmitt
This chapter details the transition of the bossa nova from ubiquitous fad to music for an older demographic to explain how the music became associated with seduction and the easy listening format. It features an analysis on the use of bossa nova in three films that feature international espionage and travel, with a focus on the pairing of bossa nova with moments of seduction and the postwar crisis in masculinity. It also traces the legacy of Astrud Gilberto’s career in the United States following the breakout success of her appearance on the recording of “The Girl from Ipanema” with Stan Getz and João Gilberto, and her influence on the extended legacy of bossa nova after its peak in popularity.
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Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0005
K. Goldschmitt
This chapter traces the development of Brazilian music within a “world music” framework, through the influence of music compilations in contrast with attempts to market a short-lived world dance craze (lambada), and through the participation of Margareth Menezes in a high-profile international tour. These musical phenomena owed their heightened prominence to contact between Brazilians and enterprising outsiders in Brazil, especially in the state of Bahia. Brazil’s international musical brand would be linked either to the kinds of music that US-based rock and pop musicians tapped in their effort to revitalize their sound, or to specialist record labels compiled to meet the rising demands of the market. Through these contrasting examples, the chapter historicizes the emergence of “world music” as a marketing genre and subject of scholarly inquiry.
{"title":"Brazilian Music as World Music in the Late 1980s","authors":"K. Goldschmitt","doi":"10.1093/oso/9780190923525.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190923525.003.0005","url":null,"abstract":"This chapter traces the development of Brazilian music within a “world music” framework, through the influence of music compilations in contrast with attempts to market a short-lived world dance craze (lambada), and through the participation of Margareth Menezes in a high-profile international tour. These musical phenomena owed their heightened prominence to contact between Brazilians and enterprising outsiders in Brazil, especially in the state of Bahia. Brazil’s international musical brand would be linked either to the kinds of music that US-based rock and pop musicians tapped in their effort to revitalize their sound, or to specialist record labels compiled to meet the rising demands of the market. Through these contrasting examples, the chapter historicizes the emergence of “world music” as a marketing genre and subject of scholarly inquiry.","PeriodicalId":204809,"journal":{"name":"Bossa Mundo","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134171921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0004
K. Goldschmitt
This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.
{"title":"From Fusion to Funk","authors":"K. Goldschmitt","doi":"10.1093/oso/9780190923525.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190923525.003.0004","url":null,"abstract":"This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.","PeriodicalId":204809,"journal":{"name":"Bossa Mundo","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129450379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0007
K. Goldschmitt
In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that characterized Brazil’s breakthroughs of the past. Brazilian artists utilize new strategies of co-branding and marketing to break through to Anglophone publics, due in part to an explosion of musical diversity over the last few decades. As a result of new mediation and distribution paths, Brazilian artists have upended old expectations for how to find success abroad, resulting in the looser iteration of the country’s musical brand. Yet old stereotypes of what counts as Brazilian music have adapted to a new music marketplace, emphasizing Brazil’s links to a new iteration of Afro-diasporic music.
{"title":"Constructing a New Music Industry","authors":"K. Goldschmitt","doi":"10.1093/oso/9780190923525.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190923525.003.0007","url":null,"abstract":"In place of a large-scale fad, boom, or trend, the Brazilian artists who have found Anglophone publics in the 2010s have done so through a more dispersed approach than the watershed moments that characterized Brazil’s breakthroughs of the past. Brazilian artists utilize new strategies of co-branding and marketing to break through to Anglophone publics, due in part to an explosion of musical diversity over the last few decades. As a result of new mediation and distribution paths, Brazilian artists have upended old expectations for how to find success abroad, resulting in the looser iteration of the country’s musical brand. Yet old stereotypes of what counts as Brazilian music have adapted to a new music marketplace, emphasizing Brazil’s links to a new iteration of Afro-diasporic music.","PeriodicalId":204809,"journal":{"name":"Bossa Mundo","volume":"419 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123575518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0006
K. Goldschmitt
The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This chapter focuses on the contrasting examples of Bebel Gilberto and Seu Jorge, and how they approached their careers in Brazil and abroad. Both artists found their most enduring success through new distribution and licensing channels that privileged cut-up and remixed Brazilian music with clear references to iconic images of a Brazilian past in the international imaginary, especially bossa nova of the 1960s. The strategy of licensing recordings to accompany other forms of consumption is shown to have exaggerated the challenges of musically representing Brazil to an increasingly connected and sensorily crowded world.
{"title":"Remixing Brazil","authors":"K. Goldschmitt","doi":"10.1093/oso/9780190923525.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190923525.003.0006","url":null,"abstract":"The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This chapter focuses on the contrasting examples of Bebel Gilberto and Seu Jorge, and how they approached their careers in Brazil and abroad. Both artists found their most enduring success through new distribution and licensing channels that privileged cut-up and remixed Brazilian music with clear references to iconic images of a Brazilian past in the international imaginary, especially bossa nova of the 1960s. The strategy of licensing recordings to accompany other forms of consumption is shown to have exaggerated the challenges of musically representing Brazil to an increasingly connected and sensorily crowded world.","PeriodicalId":204809,"journal":{"name":"Bossa Mundo","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132305349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-28DOI: 10.1093/oso/9780190923525.003.0002
K. Goldschmitt
This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.
{"title":"Copying the Bossa Nova","authors":"K. Goldschmitt","doi":"10.1093/oso/9780190923525.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190923525.003.0002","url":null,"abstract":"This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.","PeriodicalId":204809,"journal":{"name":"Bossa Mundo","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130230280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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