The notion that there is any single musical style that could be categorized as “Latin music” ignores the astonishing variety of musical forms in Latin America. From cumbia to bossa nova, huayno to mariachi, tango to salsa, let alone different varieties of so-called “rock nacional,” there is an astonishing variety of musical expressions across the region, some of which are tied to specific national or local contexts, others of which are mobile, transnational blends that draw on many different influences. Music can be improvised and spontaneous, or staged and heavily choreographed. It can express or provoke many different affects or moods (joy, sadness, desire, tiredness), as well as being the vehicle for political protest, social commentary, or personal introspection. It is endlessly malleable, yet also the conduit for memory and a rhythm of resistance.
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- Greene, Shane. "Peruvian Punk as a Global Means of Underground Production" Popular Music and Society 39.3 (2016): 286–300.
- Kaurismäki, Mika, dir. Moro no Brasil. 2002. (free subscription required)
Riot Grrrl in Brazil
Latin American Punk videos
The Very Latinx History of Punk:
Was Punk Rock Born in Peru? – Los Saicos – Noisey Specials:
Narcosis, “Yo no quiero”:
Narcosis La Peste recorte:
Narcosis – Segunda Dosis (Documental):
La escena punk en Mexico:
Buenos Aires Hardcore Punk:
Meet the Cuban Punks Who Infected Themselves with HIV in Protest:
Punk in Peru
“Moro no Brasil”
Song and music video by Seu Jorge and Farofa Carioca…
Farofa Carioca – Moro No Brasil
Check out the lyrics. Google translation:
“I Live in Brazil”
[Intro: Seu Jorge]
So I want to make it clear to the Brazilian people that the government, together with the congress, has been working within a deadline to be stipulated so that we can recover the rates of gross domestic product. So, starting next month, the minimum wage will increase by 3.0487 percent
Hello, people, now it’s serious
Chora cavaco, vai
(Bam, bam, bam, Brazil 2000)
(Bam, bam, bam, Brazil 2000)
Leave it to me
[Verse 1: Seu Jorge]
I have been thinking about the Brazilian people for a long time
In the struggle that we spend each year that passes
Promises make us, but nobody thinks it’s funny
But I believe that there is a solution
Reaching the goal with our heart
So come on, citizen, do it for yourself
Don’t feel like a loser and fight to survive (Uh iê)
Fight to survive
[Chorus: Seu Jorge with Farofa Carioca ]
I live in Brazil
I don’t know if I live very well or very badly
I just know that I am now part of the country
Intelligence is fundamental
Moro in Brazil
I don’t know if I live very well or very badly
I just know that I am now part of the country
Intelligence is fundamental
[Verse 2: Seu Jorge]
Now I have here the cause of our problem
Misery and hunger defeat, defeat our nation
To top it off, there is violence to the citizen
We need to do it for our brothers
With the help of God (God) and why no?
So go on, go on, citizen, do it for yourself
Don’t feel like a loser and fight to survive (Uh iê)
[Chorus: Seu Jorge with Farofa Carioca ]
I live in Brazil
I don’t know if I live very well or very badly
I just know that now I do part of the country
Intelligence is fundamental, Farofa Carioca
I live in Brazil
I don’t know if I live very well or very badly
I just know that I am now part of the country
Intelligence is essential
[Bridge: Seu Jorge & Farofa Carioca ]
The Brazilian people continue to laugh
Resisting the violence that someone planned
Living in the favela, dying in the alley
Poor thing in the street its time has come
The Brazilian people continue laughing
Resisting the violence that someone planned
Living in the favela, dying in the alley
Poor guy, his time has come
It’s just plim, plim, give two, give two
Tirim, tirim, bangue, bangue, pau, pau
It’s just plim, plim, give two, give two
Tirim, tirim, blood, blood, stick, stick
It’s just plim, plim, give two, give two
Tirim, tirim, blood, blood, stick, stick
It’s just plim, plim, give two, give two
Tirim, tirim, bangue, bangue, pau, pau
[Verse 3: Seu Jorge]
Now I have, the cause of our problem
Misery and hunger defeat, defeat our nation
To complete it has, has, has violence to the citizen
We need to do it for our brothers
With the help of God (God) ( Doubt?) And why not?
So go there, go there citizen, do it for yourself
Don’t feel like a loser and fight to survive (Uh iê)
[Chorus: Seu Jorge with Farofa Carioca ]
I live in Brazil
I don’t know if I live very well or very bad
I just know that now I do part of the country
Intelligence is fundamental, come, Farofa
I live in Brazil
I don’t know if I live very well or very badly
I just know that I am now part of the country
Intelligence is fundamental
[Departure: Seu Jorge & Farofa Carioca ]
I live in Brazil, I don’t know if I live very well or very bad
Intelligence is fundamental
I live in Brazil, I don’t know whether I live very well or very bad
Intelligence is fundamental
Brazil
“Life on Mars?”
Seu Jorge covers David Bowie for the Wes Anderson movie, The Life Aquatic…
Seu Jorge – Life on Mars?:
More here…
Seu Jorge Performs David Bowie Live From The Movie Set (video):
Music videos
Roots of Rhythm: Part 1 of 3:
The Tango Salon BBC4 Film Documentary:
Our Latin Thing (Nuestra Cosa Latina) – Full Movie:
Mariachi History:
Narcocorridos
Gerardo Ortiz, “En preparación”:
Regido, “6 impactos”:
Jenni Rivero, “Los ovarios”:
Los Cuates de Sinaloa, “Negro y Azul” (from Breaking Bad):
“Death Notes: The Life and Death of Chalino Sánchez”:
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- Miller, Marilyn G., ed. Tango Lessons: Movement, Sound, Image, and Text in Contemporary Practice. Durham, NC: Duke University Press, 2014.
- Palomino, Pedro. The Invention of Latin American Music: A Transnational History. Oxford: Oxford University Press, 2020.
- Rondón, César Miguel. The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. Chapel Hill: University of North Carolina Press, 2008.
- Waxer, Lise. Situating Salsa: Global Markets and Local meanings in Latin Popular Music. London: Routledge, 2002.
- What is the relationship between music and identity? How do particular musical genres become attached to specific places or peoples?
- How does music travel and change? It is perhaps more mobile than other cultural forms?
- What or who is a "musician"? How does this social (and professional) role arise, and how and when does it become challenged?
- What is the role of lyrics or language in a song? How do music and language reinforce, or perhaps sometimes undercut, each other?
- What and how does music mean? Or is meaning less important in music than in other cultural forms?
- What is the relationship between music and the body? Music and affect or emotion?
- What is the relationship between music and technology? What about the role of different kinds of technology, from instruments to microphones, tape cassettes to loudspeakers, radio waves to TV?
- What is the relationship between "Latin American music" and "Latin music"? How are they similar or different?
- Latin American music is often represented as particularly upbeat and joyous. Is this a misrepresentation?
- In Moro no Brasil, what role does the director, Mika Kaurismaki, play? How and why is the movie structured as it is? What is the meaning of its title (literally, "I live in Brazil")?
- What does Greene mean by "under" and "over" production?
- What does Peruvian punk (and Greene's article) have to say about the role of different forms of copying in popular culture?
Music questions
Is music part of an integral factor that makes up a culture? How is music portrayed in another culture? (I find the similar atmosphere with the African American culture and their connection with music)
Do you think music has the power to change societies? If so, how? If no, why not?
Do you know of any other musical genres in Latin America that challenge the mainstream? How are they provocative?
how do you think society views punks? How do you think punks view each other?
do you have a specific song that reminds you of Latin America? What is it, and why?
What is the director’s role in a film like this, and how may it differ from other films?
What is the role of indigenous voice in popular cultures?
I would love to know what draws you to punk as a genre of music? What does punk mean to you?
It strikes me how today many of them are globally famous dance & music styles that people from all over the world enjoy and consume, without barely any connection to their roots. Somehow they have been able to escape the stigma and been accepted by the elites, but the question is how? Or is it possible that the perception is different in their country of origin than what it is abroad? Also I wonder what are the similarities/differences between sport and music in a society?
What movements or features of popular culture you know about, have been in part or in total, assimilated by capitalism?
In terms of the genre punk rock what would constitute in your own mind after reading the article an album being overproduced or underproduced?
Is the misrepresentation of musical movements a problem? Is it inevitable?
