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), alcohol-powered 1983 VW Gol, the beloved Oncinha (little leopard) that became the punkest car in Brasilia, a favorite with friends, and a fixture at shows throughout the Distrito Federal and even into Goiás. Finally, to my dear family, to whom I am always close, even when wind whips and howls and drowns out our voices to one another. Review of Gary Stewart, Rumba on the River: A Popular History of the Two Congos (London: Verso, 2000), Popular Music 20(2):285-292. The sounds herein discussed are discourses on some of the deepest issues their makers face, such as "Who am I? The horror of the herdsman came not so much from seeing, but from having to utter what he saw. The spoken word, like sonicked music (as opposed to the written word and notated music), is imbued with emotion, infused with non-semantic energy, immaterial material for reflection and reaction. Philippe Seabra, who helped start one of the city's seminal punk bands in the 1980s, the nationally successful Plebe Rude, remarked upon hearing of my research plans, "Why are you studying music here?
If all who wander are not lost, it's because over the years you have given me tether unbrokenly. Xll VITA January 23, 1970 Born, Chicago, Illinois 1992 B. "A presentação de literatura africana," a workshop moderated at the Scenic Arts Department, University of Brasilia, Brazil. The line "Anger is an energy" from the same Pi L song cited above relates to one of the wider themes of this dissertation: the central importance of emotion in music, not only as experienced through and upon hearing, but also as a gravitational field giving cohesiveness and energy to a music community. Go to the Northeast, where the music is from." The subtext is that rock may be from Brasilia, but real Brazilian music is not.
All photos are by the author unless otherwise noted. Brasilia's traditions are still in the process of consolidation, and its identity is being forged for the first time. Guitarist and vocalist for alternative bands Peixa and Poptose. Music is a site where the body politic and politicians confront each other. " The spatial configuration of the city's plan, designed to optimize government functioning and to house bureaucrats and their servants, and UNESCO's subsequent limitation on development beyond the original plan circumscribe physical space and hinder its social usage beyond what was originally envisioned and intended.
Those who helped me in less direct ways, but whom I wish to thank no less - Agradeço: Túlio, Philippe Seabra, André X, Clemente, Loro Jones, Evandro Vieira, Bosco (Detrito Federal), Karla Testa and Otto, Alex Silveira, Brunão Tartalho, Thiago Barbosa and Adriana, Flávia Foreque and Rodrigo, Johanna Nublat, Gustavo (Cadabra), Isabella Paz, "meu filho" Filipe CDR, Kacau, Gerson De Veras, Haroldinho Mattos, Marcos Paulo, Daniel Nakakura, Leiry, André, Marcos Pinheiro, Pedro Poney Ret, and Reinaldo (Berlin). ' Praise Singers on Brazil's Central Plateau." In Access All Eras: Tribute Bands and Global Pop Culture, ed. Its rock music production in the 1980s gained Brasilia the title "Capital of Rock," and rock has played a central role in the search for and expression of a place-based identity in Brasilia. During Carnaval 2000, after the maracatu bloc I played with was shut down by the police, due to then-governor Roriz' s prohibition of live music after 1 1 p.m. Musicians regularly complain about the lack of suitable spaces for rehearsing and performing. How the physical environment plays out in musical expression and how musical activity confronts the physical environment are at issue.
Patrick, Márcio Takeda, Vander Bastos, Rafael Ciampi, IX Maurício "GB," Alice "Nina" Gabriel, "Teresa," Caio, Bale, Fábio Pedroza, Celso Salim, Jair Santiago, André Benedetti, Robson Aldeoli, Hudson, Beavis and Frango Kaos, lano Fázio, "os Tiagos" (Freitas and Palma), Henrique Reis, and Pepeu, Fofão "Discrust," Amarildo do Gama, Raul Santiago, Ulysses X and the Porão do Rock and G4 organizations, x Manekox, Alexandra Capone, Marcelo Farias, Felipones, Rafael Maranhão, Ludmila Gaudad, Clarissa Carvalho, Michel Marciano, Marcelo Barbosa, Renato Gomes, Maurício Barbosa, Chico Pereira, Lya Lilith and Júlia Ferrari, Inaê da Silva, and Guiminha. "Brasilia (Brazil)." In The Ethnomusicolo gists' Cookbook: It's Chapati and I'll Fry if I Want To, ed. Though located in xvn Brazil's historically undeveloped interior, it has become perhaps the most cosmopolitan of the country's cities, drawing diplomats, educators, professionals, artists, and laborers from around Brazil and the world. In Brasilia — built as government seat, power throne, nucleus of the former dictatorship, museum of repression's material and symbolic artifacts — music is a site on the political margins, but at the center of the social map.
Review of David Grazian, Blue Chicago: The Search for Authenticity in Urban Blues Clubs (Chicago: University of Chicago). From Saint Dom Bosco's prophetic vision in 1883 of a land of "milk and honey" to Lucio Costa's modernist and functionalist ideal of the perfect urban plan and architect Oscar Niemeyer's communist aims, Brasilia has been the focus of Utopian desires. He goes on to describe inhabitants' rejection of certain aspects of the urban design they considered unacceptable — such as the doing away of the street — as well as the trauma that resulted from having to cope with a city without a past, one that seemed to negate tradition and require its people to reinvent themselves.
"Of Griots, Gurus, and Guitars: Memory and Tribute in Brazilian Rock," a paper presented at the annual meeting for the Midwest Chapter of the Society for Ethnomusicology in Columbus, OH. xvi ABSTRACT OF THE DISSERTATION Dark Matter: Towards an Architectonics of Rock, Place, and Identity in Brasilia's Utopian Underground by Jesse Samuel Wheeler Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2007 Professor Anthony Seeger, Chair This dissertation investigates relationships between rock music and the concept of place in Brasilia, Brazil. In the words of anthropologist James Holston, "[although Brasilia was conceived to create one kind of society, it was necessarily built and inhabited by another — by the rest of Brazil the former denied" (Holston 1989: 23).
In order for rock to thrive (or merely survive) in Brasilia, the community has had to construct and operate a musical economy parallel to the official music industry. I make several suggestions in the course of the dissertation: First, that real — not imputed, imaginary, or abstract — relationships between music and environment have consequences for both and can be heard and seen; second, that the rock underground is keeping the Utopian vision of the city's founders alive, albeit through different ways and means; and third, that rock in Brasilia is a candidate for a narrative of Brasiliense 4 identity and a contributing component to Brazilian identity, to brasilidade, alongside the dominant voices of samba carioca in Rio de Janeiro and Afro-Brazilian musical culture in Bahia.
This subject category is not traditionally valued in Brazilian society, nor is rock a musical style historically given the same structural support as styles thought to be more Brazilian.
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: Glauber, Beto Peres, Teka, Use, Barbara da Silva, Amarildo do Gama, Ronan, Priscila, Kbça, Tomaz, Carolina Diniz, "Lagarticho," Fellipe CDC, the Biblioteca Demostrativa de Brasilia, and the US Embassy in Brazil. To: Mansour Drame, jêrê-jêf for being a constant friend from my first day in Brasília; Olinda Paula, for giving me a room with a view while I wrote chapter 2 and my heart healed; Vilma, Aline, and Flávia, for the massages and yoga classes that coaxed forth insights and epiphanies such as those in chapter 6; Jeff Janeczko, for a futon "a month long," whilst I shook out my head after field work and inked an outline; Ben Harbert for his finesse with Finale; Katie Van Buren, my student mentor, for being a friend, "on-call," sensitive and sensible. To "Hoss" Palmer, "The Historical" C Heinen, Mike "CBFPD" Wagner, Steven Sarembock, Youssouf Komara, Matty "Bird" Castle, Sathya Burchman: y'all checked in on me repeatedly and this is also for you — whistle and I'm there. Review of Peter Fryer, Rhythms of Resistance: African Musical Heritage in Brazil (Hanover, NH: Wesley an University, 2000), and Charles A. "Samba: From Style to Symbol," a paper presented at the annual meeting for the Southern California Chapter of the Society for Ethnomusicology in Los Angeles, CA. Isabel de Sena (New York: Knopf, 2002), Ethnomusicology 48(2):291-2. Review of Ruy Castro, Bossa Nova: The Story of the Brazilian Music that Seduced the World, trans. With the current underground rock scene in Brasilia as my focus, I parse the concept of place into elements that can be analyzed to understand what gives a place its identity and then trace ways rock has been influenced by Brasilia and ways rock musicians have contributed to making Brasilia the place it is. What linked them all was the rock scene in Brasilia. Rock, like any other genre, yields rich information when adequately interrogated.