Brazilian rock
From Wikipedia, the free encyclopedia
| Brazilian rock | |
|---|---|
| Stylistic origins: | North American and British rock music, samba, forró and other Brazilian genres |
| Cultural origins: | Brazil in late 1950s; fusion genres from the late 1960s |
| Typical instruments: | Electric guitar, bass guitar, drums, percussion, acoustic guitar, keyboards |
| Mainstream popularity: | In Brazil, large in the mid-1960s and from 1982 to the present; some popularity in Spanish America beginning in the mid 1980s |
| Derivative forms: | Tropicália |
| Fusion genres | |
| Samba rock, forrocore, Mangue Bit | |
Brazilian rock refers to rock music produced in Brazil and usually sung in Brazilian Portuguese. Rock entered the Brazilian scene in 1956, with the screening of the film The Blackboard Jungle, featuring Bill Haley's "Rock Around the Clock", which would later be covered by singer Nora Ney[1] and have a Portuguese version. In 1957 Miguel Gustavo wrote the first original rock 'n' roll song "Rock and roll em Copacabana", recorded by Cauby Peixoto. The song was #52 in the year's charts[2]. Other rock artists of the 1950s were Celly Campelo and Sergio Murilo, singing covers and versions from the United States and Italy.
Throughout the 1960s rock music was marginalized as crude and imperialistic. This stance led several MPB artists to participate in a protest that would later be called the passeata contra a guitarra elétrica ("demonstration against the electric guitar")[3]. Thanks to the combined influence of Tropicália, The Beatles and the increasing acceptance of electric guitars, this position diminished to the point that Clube da Esquina could produce Beatles-influenced songs and still be regarded as "serious music".
During the 1980s, a new generation of rockers influenced by punk, post-punk and new wave, positioning themselves against MPB (much as punk did against progressive rock)[4] achieved mainstream success, even producing the best selling album in Brazilian history: Rádio Pirata ao vivo by RPM sold about 2,200,000 copies[4]. The initial antagonism turned to cross-pollination when MPB musicians (João Gilberto, Caetano Veloso, Ney Matogrosso) recorded songs by the new bands, while the latter experimented with fusions between rock, forró, samba, reggae and bossa nova[4][5].
Contents |
[edit] Early period
In 1957 Miguel Gustavo wrote the first original rock 'n' roll song "Rock and roll em Copacabana", recorded by Cauby Peixoto and #52 on the year's charts.
In Brazil many bands continued to perform translations of English lyrics, though many avoided this problem by playing instrumental rock. Inspired by such instrumental bands Duane Eddy and The Champs, 1958 saw the release of the first Brazilian instrumental rock song, "Here's the Blue Jean Rockers" by The Blue Jean Rockers. Later that year, Bolão & His Rockettes recorded the first purely instrumental LP. This helped make rock the most popular style of Brazilian youth music. More bands, like The Avalons, The Clevers, The Rebels, The Jordans, The Jet Blacks, The Pops, Os Populares, The Bells, The Lions (band) and The Youngs, arose.
[edit] 1959
1959 was a breakthrough year for Brazilian rock and roll as its pioneers emerged and became true stars. Out of thousands of performers, Nora Ney, Nick Savoia, Celly Campelo, Tony Campelo, Lana Bittencourt, Demetrius, Cinderella, Regiane, Ronnie Cord and Hamilton de Giorgio climbed to success seemingly overnight. A number of instrumental bands like The Avalons, The Rebels, The Jordans and "Os incríveis" became girls´ heart-throbs. They enjoyed the same success in Brazil as the Beatles did in Europe and America years later.
[edit] Social development
Right after rock'n'roll took America by storm, Bill Haley and Elvis Presley also became liberating icons for Brazilian youth. The youth of Brazil felt that they were under sexual and educational oppression, as Brazilian society had been based on the standards and rules of the Catholic church colonization. For example, looking at a strange boy or girl in public meant falling into public disgrace. With the advent of rock'n'roll, the Brazilian world began to change. Teenagers were not "only to be seen but not heard" anymore. However, the youth's first reaction was violent. Many movie theaters were totally wrecked during the showing of rock'n'roll movies. This went on for a couple of years until finally the young people decided that if American kids could do it, why couldn't they? So, some radio disc-jockeys and recording companies set out to find new talents that could not only sing but who would also do it in perfect English.
This new social era led to a total transformation of customs, and outlived many other attempts to keep Brazil's social structure rooted in the older traditions and religious dogmas.
In 1963, Roberto Carlos had two hits: "Splish Splash" (Portuguese lyrics by Erasmo Carlos for the Bobby Darin song) and Parei na contramão, the first Roberto Carlos/Erasmo Carlos collaboration[3].
[edit] BRock - the 1980s boom
Even though the 1960s witnessed the phenomenon of Jovem Guarda and the 1970s saw the appearance of many prolific artists, like Raul Seixas, and bands like Os Mutantes, it was in the 1980s that the Brazilian rock scene made its great breakthrough, with the spawning of many bands from diverse centres of the country (Ultraje a Rigor, Titãs and Ira! from São Paulo; Blitz, Kid Abelha, Barão Vermelho and Paralamas do Sucesso from Rio de Janeiro; Engenheiros do Hawaii from Rio Grande do Sul; Legião Urbana, Plebe Rude and Capital Inicial from Brasília; Camisa de Vênus from Bahia and so on), in addition to the Rock in Rio event, which took over a million people to "Cidade do Rock" (where the event was held) in the ten days that it lasted, and established Brazil as a venue for international artists - some artists, like Santana, Queen and Alice Cooper, had come before this event, but the number of international attractions rose abruptly after Rock In Rio. The underground scene had punk rock and heavy metal bands such as Sepultura, Viper and Ratos de Porão from the mid to late 1980s.
[edit] Contemporary
In modern times, the 1990s saw a resurgence in instrumental rock's popularity, and some of the classic bands from previous decades reformed. Surf music also became popular, especially The Argonauts and Os Ostras. But none of these styles could keep up with the new bands who were a large success, like Raimundos (which was formed in the late 1980s, but only released its first album in 1994), Skank, Pato Fu, Angra, and Charlie Brown Jr. in later years. Also, MTV Brasil Unplugged format brought back bands whose career was considered over, like the Titãs in 1996, Capital Inicial in 2000 and, more recently, Ira! in 2004. Melodic Hardcore is currently one of the most popular rock genres of the country: bands like CPM 22, ForFun, Fresno and Hateen often hit high spots on the hit parade, thanks mostly to heavy airplay on Brazilian MTV.
[edit] Underground
The Brazilian underground bands is a division: part is influenced by the hardcore or metal and other part is influenced by the 90's alternative rock, after Strokes boom, a large number of bands were created; among these are Cachorro Grande, Cansei de Ser Sexy, Forgotten Boys, Tequila Baby, Gram, Ludov, Luxúria and Canto dos Malditos na Terra do Nunca. Today, the independent scene have a lot of opportunities with the festivals (like Bananada, Porão do Rock, Humaita Pra Peixe) and independent labels (like Montro Discos, Mondo 77, Trama etc.).
[edit] See also
[edit] Notes
- ^ Cravo Albin, Ricardo. Dicionário Cravo Albin da Música Popular Brasileira. Instituto Cultural Cravo Albin. Retrieved on 2007-04-22.
- ^ Hot100Brasil. Hot100Brasil. Retrieved on 2007-04-22.
- ^ a b Araújo, Paulo César de (2006). Roberto Carlos em detalhes. São Paulo: Editora Planeta do Brasil. ISBN 85-7665-225-5.
- ^ a b c Dapieve, Arthur (2000). BRock - o rock brasileiro dos anos 80. São Paulo: DBA. ISBN 85-7234-253-2.
- ^ Motta, Nelson (2001). Noites Tropicais. Rio de Janeiro: Objetiva. ISBN 85-7302-292-2.
[edit] References
Cravo Albin, Ricardo. Dicionário Cravo Albin da Música Popular Brasileira. Instituto Cultural Cravo Albin. Retrieved on 2007-04-22.
Dapieve, Arthur (2000). BRock - o rock brasileiro dos anos 80. São Paulo: DBA. ISBN 85-7234-253-2.
Alexandre, Ricardo (2001). Dias de Luta - o Rock e o Brasil dos Anos 80. Rio de Janeiro: Objetiva. ISBN 85-7302-292-2.
Motta, Nelson (2001). Noites Tropicais. Rio de Janeiro: Objetiva. ISBN 85-7302-292-2.
Araújo, Paulo César de (2006). Roberto Carlos em detalhes. São Paulo: Editora Planeta do Brasil. ISBN 85-7665-225-5.
World rock |
|---|
| Argentina · Armenia · Australia · Austria · Belarus · Belgium · Bosnia and Herzegovina · Brazil · Cambodia · Canada · Chile · China · Colombia · Croatia · Cuba · Czech Republic · Denmark · Dominican Republic · Egypt · Estonia · Finland · France · Greece · Germany · Hungary · Iceland · India · Indonesia · Iran · Ireland · Israel · Italy · Japan · Korea · Latvia · Lithuania · Malaysia · Mexico · Nepal · Netherlands · New Zealand · Norway · Peru · Philippines · Poland · Portugal · Romania · Russia · Serbia · Slovenia · South Africa · Spain · Sweden · Switzerland · Taiwan · Tatar · Thailand · Turkey · Ukraine · United Kingdom · United States · Uruguay · Vietnam · Socialist Federal Republic of Yugoslavia · Zambia |
pt:Rock brasileiro
