{"id":11946,"date":"2020-09-21T09:56:43","date_gmt":"2020-09-21T07:56:43","guid":{"rendered":"http:\/\/www.auxsons.com\/?post_type=focus&#038;p=11946"},"modified":"2020-09-21T14:20:59","modified_gmt":"2020-09-21T12:20:59","slug":"brazil-under-bolsonaro-how-is-the-music-sector-reacting","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/brazil-under-bolsonaro-how-is-the-music-sector-reacting\/","title":{"rendered":"Brazil under Bolsonaro : how is the music sector reacting&nbsp;?"},"content":{"rendered":"<p><strong>Since Jair Bolsonaro became president of Brazil in January 2019, culture, already affected by a long-standing economic crisis, has paid a heavy price. Clipping the wings of the Ministry of Culture, slashing subsidies, cutting budgets and sabotaging the Rouanet Law, which made corporate cultural funding tax-exempt, are the key measures introduced by his government. Deeply impacted by this scorched earth policy, how has music reacted?&nbsp;<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Under the military dictatorship (1964-1985), <span class=\"caps\">MPB<\/span> (Brazilian pop music) was a weapon of resistance and those who wielded it best (Chico Buarque, Caetano Veloso and Gilberto Gil, to name but a few) are now taking a stand against the powers that be as citizens, but are no longer devoting their art to it. \u201cThey gave a lot in their time, it\u2019s now up to the young people to take over\u201d, says Chico C\u00e9sar, in his 50s, who is trying to unite an opposition movement among musicians.<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Chico C\u00e9sar - Inumer\u00e1veis (Braulio Bessa)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/xTKk6N6h5vA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">But the times are not in step. Traditionally progressive, the <span class=\"caps\">MPB<\/span> community today mirrors the left-wing parties whose various factions are unable to come together. Acauam de Oliveira, who has a PhD on rap, explains: \u201c<em>While under the dictatorship television gave visibility to artists and allowed ideas to circulate despite censorship, nowadays music is broadcast through social media.<\/em><\/span><em> <span style=\"font-weight: 400;\">Musicians are losing their importance to YouTubers, who are now influencers. And paradoxically they\u2019re pro-Bolsonaro. It\u2019s not just them: the \u201cforr\u00f3 safado\u201d (forr\u00f3 pig) scene in the Nordeste and \u201cm\u00fasica sertaneja\u201d (Brazilian country music) in the south east and central west also support the president.\u201d<\/span><\/em><\/p>\n<p><span style=\"font-weight: 400;\"><em><span class=\"dquo\">\u201c<\/span>And yet\u201d<\/em>, Acauam de Oliveira adds : \u201c<em>the music industry is more committed than ever.<\/em><\/span> <span style=\"font-weight: 400;\"><em>But not where you\u2019d expect it to be. Despite the no holds barred criticism aimed at Bolsonaro during Carnival by the samba schools, heavily penalised by the cuts in subsidies, the protests aren\u2019t targeted at the president or the political regime, but at specific social problems: racism, sexism, poverty, unemployment, homophobia, violence, ecology\u2026 The struggle is pragmatic rather than ideological\u201d<\/em>.<\/span><i><span style=\"font-weight: 400;\">&nbsp;<\/span><\/i><span style=\"font-weight: 400;\">So, the protests have changed register. As well as&nbsp;sides.&nbsp;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In the 1970s, protest music came from middle-class university students, who were undoubtedly harshly persecuted by censorship, but did not suffer from the societal problems they denounced \u2013 racism, machismo, poverty, capitalism, conservativism\u2026 These young activists were speaking on behalf of the victims. Since the 1980s, it is the victims who have been speaking. From working-class backgrounds, they refocus the debate at the level of their own experience, speaking in no apparent order on different fronts and each according to their own temperament.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Emicida - Boa Esperan\u00e7a (Videoclipe Oficial)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/AauVal4ODbE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Things are angry in the outskirts of S\u00e3o Paulo \u2013 the equivalent of Paris\u2019s <\/span><i><span style=\"font-weight: 400;\">banlieue<\/span><\/i><span style=\"font-weight: 400;\"> \u2013 where the rebellious, serious, brutal and impetuous rap spearheaded by Emcida denounces racism, violence and misery, in short, daily life in the \u201cneighbourhoods\u201d.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">There\u2019s more laughter in the black music scene in Bahia, which led a similar fight in the joyful spirit of the 1970s, when the slogan \u201cBlack is beautiful\u201d had awoken the black conscience. In the continuity of Afro-Brazilian groups that emerged at the time, the younger generation continues to positively impact black identity by fighting against the racism and misery that affects their community. The interference of feminism in this kind of music is a sign of the&nbsp;times.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Pabllo Vittar - K.O. (Videoclipe Oficial)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/3L5D8by1AtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">A general trend across a country in which the struggle waged by women, joined by the <span class=\"caps\">LGBTQI<\/span> community, represented in particular by the drag queen Pabllo Vittar, occupies an important place on the new music scene. Beyond the incredible 90-year-old samba singer Elza Soares, whose latest album <\/span><i><span style=\"font-weight: 400;\">Mulher do Fim do Mundo<\/span><\/i><span style=\"font-weight: 400;\"> [Woman of the End of the World] holds the torch of feminism high, this is expressed powerfully (and very vigorously) in the funk that has taken the country\u2019s major cities by&nbsp;storm.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Elza Soares - Mulher do Fim do Mundo (Clipe Oficial)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/6SWIwW9mg8s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Traditionally macho and pleasure-seeking, it has been gradually cannibalised by girls who\u2019ve made it a standard bearer for both vindictive and hedonic feminism. With harsh words, provocative looks and suggestive dance routines in which their buttocks take the lead, the funk girls appropriate the paradigms of sexist pornography to assert their right to take control of their bodies and claim their independence.&nbsp; This so-called \u201cm\u00fasica de putaria\u201d (whore music) is far from outstanding either in the quality of its melodies or the refinement of its lyrics, but it makes many girls aware of the seriousness of the situation in the country and begins introducing \u201cprotesto\u201d into their \u201cputaria\u201d. It may not improve the standard of the lyrics, but the funk girls do shake up people\u2019s thinking.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Larissa Luz canta Bonecas Pretas no M\u00fasica no Parque\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/jqQXLAtrEn4?list=PLkTpKs9jnM_17Y6IH5kWVMR98OTJzfbEX\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">But while there is subversion, contestation and demands in these areas of music, the production is seriously lacking in creativity. And a lockdown that seems endless to everyone is not going to fix that. With the internet having reshuffled the cards and multinationals being unable to negotiate the crisis, <span class=\"caps\">MPB<\/span> is collapsing while social networks propel rap, funk, country and forr\u00f3 artists into the limelight, creating superstars and the wealth that goes with it. <em>\u201cWe were worried the lockdown would ruin the market for music, but musicians on social media have earned a huge amount of money\u201d<\/em>, says Alceu Valen\u00e7a, a survivor of the decimated <span class=\"caps\">MPB<\/span>, which, according to the music critic Hugo Suckman <em>\u201cis now only musicians selling their instruments, giving music lessons remotely and planning to retrain\u201d<\/em>.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<iframe title=\"Djonga - A M\u00fasica da M\u00e3e (Clipe Oficial)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Nrrj1Z7nY64?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">What is left then is what was there before Bolsonaro, something Brazilians will never forget: a century of music of undeniable richness that, in desperation, musicians are trying to revive in concerts here, there and everywhere. Imaginations are no longer used to write music, but to invent ways of sharing it. Actions that are not at all politi<\/span><span style=\"font-weight: 400;\">cal, but allow them to survive psychologically. \u201cIn Brazil at the moment\u201d, says Luiz Fernando Vianna, \u201cwith a government that wants people to die, staying alive is an act of civil disobedience\u201d.<\/span><i><span style=\"font-weight: 400;\">&nbsp;<\/span><\/i><span style=\"font-weight: 400;\">Remembering that Brazilian music has resisted three dictatorships and plenty of incompetent governments, Hugo Suckman reassures us that: \u201cThe music industry is dying, but not music\u201d.<\/span><i><span style=\"font-weight: 400;\">&nbsp;<\/span><\/i><span style=\"font-weight: 400;\">That is immortal.<\/span><\/p>\n<p><b>Thank you to:<\/b><span style=\"font-weight: 400;\"> Acauam de Oliveira \u2013 Alceu Valen\u00e7a - Chico C\u00e9sar \u2013 Luiz Fernando Vianna and Hugo Suckman \u2013 Carlos Sandroni \u2013 Carlos Sion.<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p><em><span style=\"font-weight: 400;\"><span class=\"dquo\">\u201c<\/span>The music industry is more committed than ever.<\/span> <span style=\"font-weight: 400;\">The protests aren\u2019t targeted at specific social problems: racism, sexism, poverty, unemployment, homophobia, violence, ecology\u2026&nbsp;\u201d.<\/span><\/em><\/p>\n","protected":false},"author":271,"featured_media":11933,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-11946","focus","type-focus","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Brazil under Bolsonaro : how is the music sector reacting ? - #AuxSons<\/title>\n<meta name=\"description\" content=\"\u201cThe music industry is more committed than ever. 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