Welcome back to “The Wobble Continuum,” a three part series here on Sounding Out!. When we last left you, Mike D’Errico had brought us to the intersection of patriarchal cultural norms, music production practices and aesthetics, and the Military Entertainment Complex. His particular focus was on the sounds and practices of brostep (be sure to check out D’Errico’s SO! Comment Klatsch from last week on gendered sounds, too), and some of those sounds leak through to today’s post from Christina Giacona. Giacona turns her ear to the group A Tribe Called Red in order to hear how they reappropriate and redress the sounds of colonization and racism.
As the series’ title suggests, her essay entails another journey to the low end, where things will once again get wobbly.
Guest Editor Justin D. Burton
Since first contact, Native Americans have consistently needed to combat the European stereotypes that portray them as inferior and uncivilized. Barraged with echoes of the same handful of Native tropes since Buffalo Bill’s Wild West Shows, contemporary American society often treats the stereotypical Native American princess, chief, and savage as historical truths, represented recently in Johnny Depp’s portrayal of Tonto in The Lone Ranger. But it is not just the visual image of the Native American that has been stereotyped, so has their sonic sensibility. As documented in the film Reel Injun, Native languages and musics have consistently been “faked” by Hollywood with tricks like backwards English, pig-Latin, and Westernized imaginings of a ubiquitous Native music based on a pan-Indian society that never actually existed. Hollywood often uses Native American music to show a “primitive” society where music’s sole function is to prepare for war. However, the “Indian” drumbeat that accents the first beat of a group of four cannot be found in any traditional Native American or Aboriginal music.
While Native American-directed motion pictures such as Smoke Signals, Powwow Highway, and Atanarjuat: The Fast Runner finally gave agency to Natives in film, it was the all-Native DJ collective A Tribe Called Red’s self-released album and popularization of the Electric Powwow that directly challenges the perception of Native American music in modern society. In this post, I analyze the sonic composition of ATCR’s song “Braves,” exploring how A Tribe Called Red challenges North American stereotypes of Native Americans through the cultural re-appropriation of racist sounds.
After World War I, intertribal powwow gatherings served as a place to celebrate newfound unity among Native Nations returning home from the war. By the 1950s intertribal powwows had spread throughout North America. With the continued strength and importance of the powwow in contemporary Native society, urban Natives in locations like New York City and Ottawa, Canada, have begun to search for ways to create the same sense of unity in urban venues. In 2008, DJs NDN and Bear Witness formed the DJ collective “A Tribe Called Red” and began curating performances in Ottawa the second Saturday of every month called the Electric Powwow: a “wild party” focused on showcasing native talent and aboriginal culture. ATCR’s website describe the music as “ the soundtrack to the contemporary evolution of the powwow.“ Bear elaborates in an interview with NOW magazine, “[the Electric Powwow] was also about creating a space for our community within the club environment.” Hip-hop DJ and turntable champ DJ Shub was invited to join the group in 2010, and the trio spent the next two years evolving the sound of the Electric Powwow into a mash-up of powwow and First Nations music with contemporary club sounds including hip-hop, dubstep, and dance hall.
Much like Fela Kuti’s popularization of Afrobeat in the 1970s, made up of a combination of traditional Nigerian Yoruba polyrhythms with a blend of Western jazz and funk, and Reggaeton’s fusion of Caribbean rhythms with the aesthetics of American hip-hop in the 1990s, the Electric Powwow merges a historically traditional and non-syncretic music with popular and cosmopolitan music in a way that both honors cultural heritage and makes it relevant to a new generation. As NDN points out on Noisey, even their name follows this trend, simultaneously referencing the introduction of Nations at powwows and famous Afrocentric hip-hop group A Tribe Called Quest. The Electric Powwow events are not just about the creation of a new genre of music, but they also serve as a site for ATCR to speak publicly about aboriginal issues and represent themselves as a contemporary face for the urban Native youth renaissance. ATCR’s music videos and live-show projections extensively sample racist imagery from movies and cartoons including old westerns, Back to the Future III, Bugs Bunny, and Disney’s Peter Pan. As a result of their audio-visual activism, the group has become the unofficial soundtrack for the Idle No More movement, which is attempting to reassert Indigenous sovereignty rights and previously signed treaties in Canada.
By taking both visual and sonic symbols that depict racist stereotypes out of their cultural contexts, ATCR draws attention to both the specific racism of each individual image and the ubiquity of racist stereotypes. In their track “Braves,” A Tribe Called Red takes on the U.S. baseball team the Atlanta Braves by remixing the baseball organization’s Tomahawk Chop anthem, itself adopted from Florida State University.
ATCR’s version transforms the innocuous-sounding chant by showcasing its core as a Hollywood-esque stereotype of Native American song. By re-contextualizing the anthem, “Braves” prompts listeners to reinterpret this facet of American sports culture as a racist pageantry of “savage violence.”
The association of the “war chant,” the motion of the Tomahawk Chop, and the fact that these actions call for one team to attack all make it clear that American sports culture appropriates Native Culture as an example of “savagery” and “uncivilized” behavior. The Tomahawk Chop also forgoes the use of a language-based text entirely and instead chooses to use vocables that cannot be attributed to any particular Native nation, ceremony, or meaning. Like Hollywood’s use of backwards English and the war drumbeat to represent “Indians,” the Tomahawk Chop bears no resemblance to any real Native Nation’s music, acting as yet another imagined primitive stereotype that marginalizes actual Native American music.
On A Tribe Called Red’s SoundCloud page, “Braves”’s description reads, “We wanted to make a song for all the racist and culturally inappropriate sports teams that are still used today!” The group accomplishes this by creating dissonance between contemporary electronic drumbeats and the “traditional” paramilitary marching band arrangement of the “Tomahawk Chop.” “Braves” utilizes a standard dubstep song structure in 4/4 at 140 beats per minute that includes an intro, two main sections that include melodic materials, a breakdown/buildup section, a vocal “drop” which announces and is followed by the climax of the piece, and an outro that brings the track to a close. However, “Braves” does differ from other dubstep songs in the marked separation and interaction between the Tomahawk Chop samples performed by voices and marching band and the composed elements of the song performed as the Wub—a deep, wobbly synthesized sound—and accompanied by a HiHat cymbal pecking away at syncopated rhythms. Even though all the melodic content of “Braves” is based on variations of the Tomahawk Chop melody, ATCR never fully integrates actual samples of the Tomahawk Chop into the composition. The marching band and chant samples are treated as an unwanted and unexpected visitor to a party; they seem important at the entrance, but they are given an increasingly diminished role until they finally exit with a whimper.
Written as a protest against racist sports organizations to help convince them to stop using characterized ceremonies and mascots, “Braves” contains that struggle within the composition itself: dubstep, sounded as the Wub and HiHat, eventually renders the Tomahawk Chop sonically impotent. The “Tribe” drop, when ATCR marks the song by saying “tribe,” acts as the turning point in “Braves.” After this point the Wub and HiHat consistently overwhelm the sampled material. In a standard dubstep song, the tribe drop would be followed by the climax: the strongest, most complex musical section of the piece. However, the Tomahawk Chop sample that follows this drop is immediately swallowed up by a low-pass filter that rubs out the tune, starting with the highest pitched sounds, over the course of sixteen measures, heightening the lower end of the sonic spectrum. Only then does the true climax occur. The Wub and HiHat appear here for the first time without the sample band or vocalizations. After the “Tribe” drop, the samples of the Tomahawk Chop are either dominated by the Wub or swallowed up by low-pass filters and fades.
In this way, “Braves” acts as a three-minute sonic story of reappropriation. The marching band arrangement and vocables represent the common stereotypes of Native American music perpetuated by Western Culture. The Wub and HiHat act as disapproving commentary on these stereotypes. “Tribe,” the only word used in the entire song, not only sounds ATCR as a group, but also marks the point in the song when ATCR begins to create their own image of Native music while simultaneously disempowering the strength of the marching band.
Just like the rebel American marching band’s reappropriation of the song Yankee Doodle in the Revolutionary War, A Tribe Called Red employs irony: in order to get the song the audience has to understand the racism, and while that sort of understanding seems to represent a steep learning curve for a culture so saturated in racist stereotypes, it is also exactly the sort of understanding a multicultural nation needs in order to thrive. Like Afrobeat, Reggaeton, and the more recent alternative hip-hop group Das Racist, ATCR is an underground voice within American popular culture that speaks with reverence for its own traditions while challenging the popular perception of race relations and breaking new ground in contemporary art. “Braves” proves that the reappropriation of sonic space is a powerful tool in the fight for cultural agency.
Featured image: “ATCR 4” by Flickr user MadameChoCho, CC BY-NC-SA 2.0
Christina Giacona is the Director of the Los Angeles New Music Ensemble and Instructor of Music at the University of Oklahoma. Dedicated to performing and researching the music of her generation, Christina teaches courses in Native American, World, and Popular Music. Since founding the Los Angeles New Music Ensemble in 2007, Christina has commissioned and premiered over twenty new works for the ensemble; run an international composers competition, recorded three albums, and collaborated with DJs, MCs, animators, choreographers, projectionists, and film producers.
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“Remixing Girl Talk: The Poetics and Aesthetics of Mashups”-Aram Sinnreich
Welcome to the extra innings of our summer series on “Sound and Sport”! In today’s bonus post, David Hendy discusses his recent Noise broadcast for BBC Radio 4 on the sounds of Olympic crowds. For an instant replay of our summer series click Kariann Goldschmitt’s “The Sounds of Selling Out?: Tom Zé, Coca-Cola, and the Soundtrack to FIFA Brazil 2014” (August), Josh Ottum‘s “Sounding Boards and Sonic Styles: The Music of the Skatepark” (July), Tara Betts‘s “Pretty, Fast, and Loud: The Audible Ali” (June), and Melissa Helquist‘s “Goalball: Sport, Silence, and Spectatorship” (May). Following Hendy’s post on Olympics past, give Andrea Medrado’s podcast a spin for a listen into its future: “The Sounds of Rio’s Favelas: Echoes of Social Inequality in an Olympic City.” And now, David Hendy. Of course, the crowd goes WILD. —J. Stoever-Ackerman, Editor-in-Chief
I didn’t get to go to the London 2012 Olympics or Paralympics. Alas, my number didn’t come up in the lottery for seats. So, like millions of others, my family and I watched – and heard – the sporting action on television or, occasionally, on our smart phones. A pretty good experience it was, too: the BBC for instance gave British viewers 24 live streams of high-definition coverage for the Olympics; Channel 4’s approach to the Paralympics was smaller-scale but packed a similar punch in terms of imagery. A key part of the “enhanced experience,” however, was the acoustic quality of the broadcasts. When the Olympics had last been staged in London, during the post-war austerity of 1948, television footage sounded like this:
“1948 Olympics Clip” courtesy of Peregrine Andrews and Alan Hall, Falling Tree Productions Limited
Just about the only things viewers would’ve heard were the voices of the commentators and the distant, muted sounds of the crowd.
That evocative archive recording was used in a recent radio documentary by the British sound designer Peregrine Andrews. The programme explored just how much had changed in location recording techniques by 2012. This time around, Peregrine pointed out, some 4,000 microphones were in position at the various venues: not just suspended in the air above or placed on the trackside, but bonded directly onto the beams in the gymnastic hall, say, or attached to the targets used in archery. Competitors everywhere were heard in extreme close-up – every shift of a hand or foot, every creak of wood, every grunt or groan made audible to the viewer at home.
This wasn’t just hyperbole. Newspapers quickly latched on to the phenomenon, dispatching reporters to measure decibel levels and offer their readers guides to the “best” venues for hearing the sound of the crowd. They pointed out that an airplane taking off produces about “140 decibels of noise”– and that the cheers echoing around the soaring curves and low ceilings of the Olympic Velodrome reached very nearly the same level.
“The roar was thrilling, to the point of pain,” claimed one reporter from the Toronto Globe and Mail. “If I had endured another minute, I am sure we’d all have gone deaf.” Zaha Hadid’s gloriously sweeping Aquatics Centre provided perhaps the most intense acoustics of all. Whenever the 17,500 fans inside cheered, the “guttural roar” was simply “ear-drum shattering,” declared the London Evening Standard. The main Olympic stadium was open air, of course, making the sound less intense. But even here the Globe and Mail journalist wrote of a “tsunami of noise” building in waves; another of the stadium’s “sonic boom”; yet another of how Usain Bolt’s 100 metres final produced a roar from the crowd which, measured at 107 decibels, beat that of your average pneumatic drill.
Perhaps it wasn’t surprising that London 2012 was dubbed the loudest ever Olympics. For the main stadium’s designer Rod Sheard had always conceived it with acoustics firmly in mind. He’s quoted in a piece in It’s Nice That: “The athletes are so focused, it’s very easy for them not to hear the crowd. . .we’ve got to make it really loud for them to get any benefit from it.” And so the 80,000 people inside were packed as closely together as possible with the roof shaped to rebound their roar back into the heart of the space, generating maximum volume.
As my producer Matt Thompson and I discovered when making our recent BBC radio series Noise: a Human History (available on iTunes), this contemporary attempt to revel in the roar of the spectators throws up some striking – and very ancient – parallels. The most obvious is that of the Colosseum in Rome, which, some 2000 years ago, provided what Keith Hopkins and Mary Beard have described as “a brilliantly constructed and enclosed world, which packed emperor, elite and subjects together, like sardines in a tin.”
The acoustic qualities of ancient amphitheaters like this – their ability to amplify the slightest sounds – is still pretty unnerving if you get the chance to witness it for yourself, as Matt and I did when recording, at the Colosseum and at the ancient Greek theatre of Epidaurus:
In these cauldrons of concentrated sound, the roar of the spectators took on a collective force of its own – a volatile quality rich with cultural and political repercussions. During plays in Greek theatres, audiences were rarely hushed and reverential. They were talkative and unruly, sometimes showing their disapproval by drumming their heels against the benches, sometimes disrupting the action by shouting and jeering. The chorus below would address spectators directly, as if facing a jury. Audience participation was as much a part of a performance as were the actors in the orchestra or on the stage. And when it came to the Roman Games later held at the Colosseum or in even larger venues such as the nearby Circus Maximus, the barrage of sound could reach intimidating levels of ferocity.
Roman arenas were not just sporting venues, of course. They were designed for political theatre. Vespasian had ordered the Colosseum to be built to help wipe away the memory of his predecessor Nero and his notorious private pleasure palace the Golden House. Now Roman citizens had a pleasure palace all of their own. The ruling elite had also created a place for the ostentatious display of imperial power and generosity, a bribe for the people’s continuing loyalty. Which is why, if the crowds were sometimes a little slow in showing their appreciation, paid stooges dotted about the arena would start applauding – or booing – at all the right moments, while soldiers would strike down any member of the audience who lagged in their cheering. But, as in the Greek theatres, Rome’s audiences were never entirely under the cosh; they could occasionally give voice to underlying discontentment. And when so many people were so tightly packed together, sheer proximity and the contagious quality of sound meant any turn in the mood would have been quick to make itself felt.
One startling example of this came in 55BC when Julius Caesar’s powerful rival Pompey put on a show in the Circus Maximus that featured the slaughter of elephants – something the crowd lapped up until the very moment they heard the poor creatures’ death throes. In episode 9 of Noise: a Human History, I speculated on what it might’ve been like – and recalled the unsettling outcome:
In London in 2012, we had our very own Pompey, in the form of the British Chancellor of the Exchequer, George Osborne. He’d turned up to the Paralympics to award some medals. And as his name was announced the stadium resounded with loud booing for the first time all summer:
Why did 80,000 people all suddenly decide to boo as one? Because, one commentator quipped, there were only 80,000 people in the stadium.
Politicians as a class are inevitably unwelcome in a place of entertainment, their presence too obviously betraying an attempt to siphon off a little of the goodwill. Osborne’s particular problem, though, was that he wasn’t just any old politician. He was from the ruling Conservative party, which, true to its ungenerous instincts, had just cut welfare benefits for Britain’s disabled people. In the circumstances, turning up to the Paralympics seemed an entirely predictable affront to most of those in the stadium – one that Osborne was thick-skinned and numb-skulled enough not to have predicted for himself.
All this might seem, well, unsporting. But booing is part of the civic dialogue. It brings politicians face-to-face with their electorate. It forces them to feel the scorn and anger of those they’ve let down. The moment passes, of course. Clips briefly went viral on YouTube, and were soon forgotten. Osborne himself is still in office, overseeing the ruination of the British economy through his programme of austerity. But for a delicious few seconds we were reminded of the inherently public nature of sound. We heard – we felt – the role of listening to one another, not as a passive thing but as a powerfully collective, inter-subjective, electrifying, communicative act.
Featured Image: Crowd: London 2012 Olympic Stadium, Image by Flickr User Flickmor
David Hendy is Professor of Media and Communication at the University of Sussex, England. He wrote and presented the recent 30-part BBC radio series Noise: a Human History, which remains available to download on ITunes. The accompanying book, Noise: a Human History of Sound and Listening, will be published in the US in October 2013 by Harper Collins. He’s the author of Radio in the Global Age (2000), Life on Air: a History of Radio Four (2007), and Public Service Broadcasting (2013), and contributes regularly to radio programmes.
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“We wanted to tell stories about sound”: Opening Ears Through the “Everything Sounds” Podcast–Craig Shank and George Drake Jr.
Quebec’s #casseroles: on participation, percussion and protest–Jonathan Sterne
Goalball: Sport, Silence, and Spectatorship— Melissa Helquist
Sounding Out! Podcast #20: The Sound of Rio’s Favelas: Echoes of Social Inequality in an Olympic City
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Join Andrea Medrado for a sound tour of Rio as she explores the nooks and crannies of the city’s favelas. Lingering ominously above the narrative is the sense of competition and gentrification which the Olympics will bring to the city itself. As the rivalry of sport comes to town, this podcast focuses on the many ways that the contours of sound have been engineered by the city to further isolate and pacify the city’s poorer residents. But, even as the Olympics churn sonic borders, Medrado keeps a keen ear to ground and points out moments of resistance, hope, and enchantment in the ‘marvelous city.’
Featuring: Andrea Medrado, Maria dos Camelôs, Maurício Hora, Renata Souza
Dr. Andrea Medrado is a Lecturer at the Media School of Bournemouth University in the UK. She has an extensive academic background in media studies as well as professional experience in advertising as a creative writer. Andrea is also an experienced ethnographer. Her current research delves into issues of social exclusion, analyzing the ways in which the favelas (slums or shanty towns) are featured in the “promotion” of Rio as an Olympic city to a global audience. One of the key questions is: how are the favelas making themselves heard during the preparations for the mega events through the sounds that the residents produce? Her doctoral thesis (University of Westminster, 2010) was an ethnographic study about the practices of daily listening in a Brazilian favela. Outside of academia, she has worked as a creative writer in both advertising agencies and a number of political campaigns in Brazil. Her research interests include auditory culture and sound studies, alternative and community media, political communications, and media ethnography. You can contact her at email@example.com; firstname.lastname@example.org.
Welcome back to our summer series on “Sound and Sport.” In today’s post, Kariann Goldschmitt discusses the gamechanging controversy over Brazilian musician Tom Ze’s commercial for Coca-Cola’s FIFA 2014. For an instant replay of July’s post click Josh Ottum‘s “Sounding Boards and Sonic Styles: The Music of the Skatepark” or of June’s post, click Tara Betts‘s “Pretty, Fast, and Loud: The Audible Ali.” For May’s post, click Melissa Helquist‘s “Goalball: Sport, Silence, and Spectatorship.” This Thursday’s grand finale will continue our discussion of Brazil, with a podcast by Andrea Medrado entitled “The Sounds of Rio’s Favelas: Echoes of Social Inequality in an Olympic City” AND keep you on the edge of your seat with a bonus Olympic doubleheader post excerpted from David Hendy‘s recent Noise broadcasts for BBC Radio 4 on the sounds of Olympic crowds. And now. . .the sounds of FIFA’s sponsors. —J. Stoever-Ackerman, Editor-in-Chief
Tensions in Brazil have been running high as the the country ramps up preparations for next year’s FIFA World Cup. Brazil’s economy is one of the world’s strongest, but its middle class has suffered as economic growth has stagnated amid rapidly rising costs of living. Yet, FIFA demands that Brazil’s government spend large amounts of money to renovate stadiums and further bolster tourism-based services at the expense of everything else. This last June, news of another hike in transit fees was the final straw for many citizens and they took to the streets to protest corruption and the routing of public funds to tournament preparations while basic services suffered. Protesters argue that the country is burnishing its international brand on the backs of its citizens. It is thus no surprise that much of the Brazilian public is fed up with FIFA and its multinational partners. As a consequence, musicians who participate in World Cup-related ad campaigns risk damaging their relationship with the public.
In Spring 2013, the Facebook page of one of Brazil’s most eccentric musical iconoclasts, Tom Zé, was bombarded by negative comments. Unforgivably to some of his most ardent fans, Zé had lent his vocal talents to a Coca-Cola commercial that sought to connect Brazil’s oft-mythologized cultural diversity to the universals of the World Cup and Coca-Cola’s alleged populism. Zé inflected his delivery of the ad copy with an especially musical speaking cadence and rhythm. It was a peculiar take that drew on his signature vocal eclecticism.
The ad opens with Zé stating,
Muita gente se pergunta como vai ser a copa
A coca-cola vai falar como ela não vai ser
[Many people are asking themselves what this cup will be like
Coca-Cola is going to tell you what it won’t be like]
as the shot features a group of people smoothing out a giant kite with the Brazilian flag. There is a strong syncopated rhythm to Zé’s voice that matches the carnival samba drums (especially the caixa) that accompany the ad throughout. As it continues, the imagery matches what Zé describes, in either stills or brief shots, often recalling the frenzy surrounding world cups of the past. In a rapid cadence, he says:
não vai ser só a copa de vuvuzela, do vidente, da celebridade
da menina bonita, do jogadores com cabelo da moda…”
[it won’t be the Cup of the vuvuzela, the psychic, nor of celebrity
of beautiful women, nor of players with fashionable hair]
The synchronization of Zé’s rapidly rhythmic delivery over archetypal images of Brazil’s tournament excitement is crucial to the ad’s message. This passage mentions two icons of the 2010 tournament, the vuvuzela and the psychic (vidente) octopus, with accompanying images. In under four seconds, the camera jumps from a man holding a celebrity magazine (celebridade), a woman cheering (menina bonita), some player figurines (jogadores) and a boy with an elaborate buzz cut. By aligning himself with an official sponsor of the upcoming tournament through ad copy that valorizes Brazil’s present, Zé also lent the sound of his voice to the sports-industrial complex, thereby opening himself up to accusations that he was a “sell-out” (vendido).
Zé is famous for taking part in the tropicália of the late 1960s – a cultural movement that was most effective through popular music. Tropicália musicians bucked Brazilian musical conventions by blending imported rock ‘n’ roll with national music protest songs during a period when musical taste often indicated one’s support or disapproval of the military dictatorship. While most involved in tropicália eventually became Brazilian musical mega-stars (Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Mara Bethânia), Zé drifted to obscurity by rejecting many of the machinations of the record industry. He only found an international audience when David Byrne’s Luaka Bop Records released some of his music in the 1990s, the most successful of which was Fabrication Defect [Com Defeito de Fabricação] (1998). Due to his peculiar status, Zé disrupted fan expectations and threatened his brand when he embraced a corporate power so intricately connected to an increasingly unpopular athletic tournament.
The controversy surrounding the Coca-Cola ad took a turn towards farce when, on April 22nd, 2013, Zé released a free 5-song EP on his website titled Tribunal do Feicebuque – a clear play on the way that Brazilians tend to pronounce “Facebook.” Accompanying the songs was a parody of tribunal orders listing the performing and collaboration credits along with lyrics to the songs. Zé’s actions exposed how the incident was a different kind of sonically-driven sports spectacle – this time it was played out over social media, in Brazil’s most influential newspaper, in Tribunal references and fights with fans during his shows at Rio’s famed Circo Voador, and in the ensuing blog reviews of his shows.
The chaotic structure of the EP’s title track, while typical of Zé catalog, disrupts his fans’ claims of “selling out.” He employs a variety of sonically disjunct approaches, opening with the startup sound for Microsoft’s Vista OS before jumping into a psychedelic samba-rock tune with a staccato guitar and a brass section. Zé recorded his vocals over multiple tracks, at times simultaneously sung/spoken at a low pitch and sung at a high pitch. The first half is familiar – the voices trade between Zé and a female companion in something sounding like a duet over a samba-rock beat. The lyrics directly reference infamous moments when Brazilian audiences have turned on their musical icons thought to be too involved in international business influences.
Vendido, vendido, vendido!
A preço de banana
Já não olha mais pro samba
Tá estudando propaganda
[Sell-out, sell-out, sell-out!
The price of a banana
He no longer looks to samba
He’s studying advertising]
At the mid-point, rock gives way to a serious march and more voices enter (including famed São Paulo hip-hop artist Emicida) making the song’s structure more like a trial, complete with competing arguments, before returning to samba-rock under Emicida’s rapping. The song is creative and fun, but it is far from Brazil’s top-40 fare which often favors smoother genre blends and urban pop hits.
Given all of the attention paid to musicians’ efforts to supplement their meager income from digital sales and streaming royalties by forging partnerships with a variety of multinational corporations, it is a little surprising that Tom Zé’s participation in a Coca-Cola commercial would be this controversial. It is difficult to find a musician in Brazil that hasn’t benefitted from some kind of corporate sponsorship. Most artists accept funding from a granting arm of a national corporation (oil company Petrobras, major bank Itaú), license music to national ad campaigns, or embark on a more direct co-branding effort from the likes of mobile phone providers and skin care companies.
One of the hallmarks of the recent changes that have affected the music industry is that musicians rarely refuse opportunities for their music to be used as the soundtrack for mainstream audio/visual entertainment and advertisements. The practice is so common that one of the best-regarded music industry survival books explains possible changes to a musician’s brand when they participate in the advertising of other products. Instead of “don’t license your music,” musicians should license their music in a way that will benefit their brand. It is rare for a song’s success among World Cup spectators to harm musicians; anthems that reflect well on the host nation(s) and express the energy of cheering crowds are a central feature of the tournament. Shakira’s “Waka Waka” actually bolstered her credibility among music fans across the African continent because it sampled Golden Sounds’ hit “Zamina Mina,” a popular song among hip-hop artists in Camaroon and Senegal. In Zé’s case, he misjudged how the tournament and its corporate sponsors were being read by the Brazilian public just weeks before tensions exploded in protest. Indeed, as compared to other Brazilian artists who have recorded potential 2014 World Cup anthems, the reaction to Zé is unique.
As others have noted, television advertising played an important role in the June protest soundtrack. Protesters appropriated the song from a Fiat commercial (released just weeks after Zé’s Facebook episode) that explicitly connects cheering soccer crowds in the street to a new car.
The meaning of “torcer,” a common expression for “cheer” in both advertisements’ copy, is transformed back to its original meaning to wrench or twist thereby exposing the conflicts that have been exacerbated by Brazil’s preparations for the tournament and the sports industrial complex.
These crowds twisted an ad’s soundtrack to challenge the role of multinational agencies and corporations in Brazil’s skewed socio-economic priorities. Indeed, as Leo Cardoso wrote in Sounding Out! a year ago, some of these priorities include regulating sound in Brazil’s largest cities.
For both of these cases involving sonic responses to advertisements that explicitly seek to capitalize on excitement for the soccer tournament, their original intended meaning was twisted and wrenched, forcing musicians to re-evaluate their publics. In the current political climate, Zé found that musical sounds can be aligned with the FIFA World Cup, so long as they are about celebrating sport rather than its multinational sponsors.
Featured Image: Tom Zé in 2008 performing in front of a Petrobras sign, photo used by CC license, Neto Silveira
Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.
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“Sound-politics in São Paulo, Brazil”–Leonardo Cardoso
Quebec’s #casseroles: on participation, percussion and protest–Jonathan Sterne