Punk in Brazil

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Punk has been around as a style of music in Brazil since the late 1970s. It has developed into today's subculture since the early 1980s .

history

Until 1982

Cólera in São Paulo (1985)

Punk rock became known as a music style in Brazil as part of its commercialization in the late 1970s. In the ABC Paulista in particular , the industrial suburbs of the metropolis of São Paulo , a growing interest in rock music in general, and among some young people in punk in particular , gradually arose . On the one hand, this was a demarcation from the musical styles of Brazilian music, including Bossa Nova, which is rejected as intellectual and bourgeois , and other styles of Música Popular Brasileira , and on the other, a reaction to the tense social climate under the ruling Brazilian military dictatorship . After a previous economic boom since the 1960s, Brazil has shown increasing signs of crisis since the mid-1970s, with rising unemployment and growing social tensions, especially in the expanding industrial suburbs.

With the spread of the music of groups such as MC5 , New York Dolls and The Stooges , some youth groups called gangues formed , which combined their love for music and the rebellious demeanor of the musicians, and a desire to distance themselves from the majority society. The interest continued with the music of names like DMZ , Patti Smith and New York Dolls . The later Inocentes musician Clemente, for example, was part of such a gangue in the Vila Carolina district in São Paulo in 1976 , which distinguished itself equally from the Música Popular Brasileira and the mainstream rock of well-known bands such as Deep Purple or Black Sabbath . When the Sex Pistols became known in the media in 1977 in Brazil, some of the gangues began to be interested in punk. The first punk bands were formed in 1978, with names like AI-5 , Condutores de Cadáver (German: corpse driver ), Cólera or Restos de Nada (German: remnants of nothing). Punk bands also formed in other parts of the country, such as Aborto Elétrico (German: electrical abortion) in the capital Brasília , Coquetel Molotov (German: Molotow cocktail ) in Rio de Janeiro , or Os Replicantes (German: The replicas, with Wander Wildner ) in Porto Alegre . The most important center of punk in Brazil, however, remained until today, the metropolitan area of ​​São Paulo, due to its size as the most populous urban agglomerate and economically most important federal state of the country.

1982-1989

Ratos de Porão in São Paulo (2007)

There were a few dozen punk bands in the greater São Paulo area when the regional press began reporting on their increasing, still small concerts in 1982. The best-known groups included Inocentes (German: The Innocents), Olho Seco (German: Dry Eye), Cólera (German: Cholera ), Lixomania , Fogo Cruzado (German: Crossfire), Hino Mortal (German: Death Hymn ), Ratos de Porão (German: cellar rats ), Ulster , Anarcoólatras , and Submundo , from which the Oi! -Band Garotos Podres emerged . There were also three female bands, too, Sketches (onomatopoeia for Esquisitas , German: the strange), Zona X , and Banda Sem Nome (German: band without a name). The band names reflected the pessimistic future expectations, but also the rough humor and the aggressive mood that reigned among the punks. These came from the lower middle class and were mostly simple employees in offices, shops and authorities, or workers in industrial companies.

Kid Vinil (2012), well-known radio host and former punk musician

In April 1982, the first record with Brazilian punk rock was released under the title Grito Suburbano (German about: Scream from the suburbs). Released in a first edition of 1,000 copies on the independent label Punk Rock Records , the record store of the same name owned by Olho Seco singer Fábio, the LP contained 12 tracks from the three bands Olho Seco, Inocentes and Cólera. The scene then gained further momentum. With Factor Zero , Vix Punk and SP Punk (meaning: São Paulo Punk ), fanzines emerged in the scene, and with the television documentary Garotos do Subúrbio (English: boys of the suburbs) from today Filmed by famous director Fernando Meirelles and named after an Inocentes song, the growing punk scene in the country continued to gain recognition. The well-known radio presenter Kid Vinil first became an avid fan of punk and then became an active musician, and the newspaper O Estado de S. Paulo published a series of articles on punk under the title Geração Abandonada since mid-1981 , which sometimes violent reactions from punks and as a result triggered increased attention and more differentiated reporting in the newspapers. Estimates now fluctuated between 3,000 and 8,000 punks in the greater São Paulo area, and the news magazines Veja and IstoÉ reported on them, which subsequently appeared in all regional and many national media reports about them.

In September 1982 the second Brazilian punk record was released, the triple 7 " EP Violência & Sobrevivência (German: violence and survival) by the band Lixomania (German: garbage mania). On November 27th and 28th, 1982 the O Começo do Fim do Mundo (Eng: The beginning of the end of the world) the first major punk festival in Brazil was held in the SESC Pompéia cultural center . 20 bands from both São Paulo and ABC played over two days Photos, videos and drawings were shown, the Punk Rock Records store was present with a booth, and an LP sampler of the same name , each with a piece by the bands, had been released in advance. 3,000 visitors came over the two days, while it was on the first day there were no incidents, on the second the violence between rival punk gangs from São Paulo and the ABC escalated.Massive forces of the Polícia Militar ended the festival with violence.

As a result, the public image of the punks, which had previously improved in Brazil, deteriorated again, and outwardly recognizable people drew the attention of the police, with subsequent repression and detention . Still, the scene continued to grow. The first album by the band Garotos Podres became the first nationally distributed punk record in Brazil in 1985 and sold over 50,000 copies, and in 1986 the band Inocentes released the first Brazilian punk record on a major label .

Since 1989

Concert of the Raimundos in Roraima 2006

After the end of the military dictatorship in 1985 and the presidency of Collor de Mellos (1990–1992), the first democratically elected president since the dictatorship, which was marked by allegations of corruption , Brazil found itself in a serious economic and, as a result, social crisis. On the one hand, the new freedom and the climate of social problems further spurred the punk scene, on the other hand, economic constraints limited its activities, for example when it came to the publication of sound carriers or fanzines. With the economic recovery, especially since Fernando Henrique Cardoso's presidency from 1995, there was also an increased publication of punk music. At the same time, punk in Brazil experienced a variety of developments and, as a result, increased interest among the country's youth and people interested in music. The emergence of the Internet particularly spurred the exchange of information and personal contact in the growing scene. Some bands were able to achieve high sales figures, such as Raimundos , Planet Hemp , or the Detonautas . Even more scene-related bands, such as CPM 22 or Dead Fish , achieved notable fame outside the punk scene. Concert clubs that increasingly staged punk concerts became another important factor. In São Paulo, hangar 110 should be mentioned in particular , which was opened in 1998 by Marco Badin, a former musician of the early punk band Anarcoólatras. In Rio de Janeiro the Garagem (German: garage) was important, and in Curitiba the concert club 92 Graus (German: 92 degrees) became known nationwide . For the first time, internationally known bands toured regularly through Brazil. In addition to the large number of old, well-known punk bands, current bands from the international scene were increasingly playing in Brazil. For example, The Gee Strings and Rasta Knast toured Brazil several times from Germany .

João Gordo (2007), singer of the Ratos de Porão and well-known television presenter

Groups like Gritando HC , Blind Pigs , Holly Trees , Zumbis do Espaço , Flicts , Dead Fish , Street Bulldogs , or the internationally known Agrotóxico were some of the bands that have been significant for the various fractions of the punk scene in and around São Paulo since the 1990s and were responsible for a variety of activities. One of the most active personalities on the punk scene in Brazil was Fábio "Nenê" Altro from São Paulo in the mid-1990s . He ran and operates several labels (including his most important with Teenager In A Box Records ), released several fanzines (including his most influential with Antimidia ), and was a member of various bands, including the well-known emopunk band Dance of Days , and the very Fast hardcore and anarcho-HC playing band Sick Terror , where he caused a sensation as a singer with a spectacular stage presence on European tours. He is also a book author and one of the most important activists of the straight edge subculture in Brazil. But the Olho Seco singer and owner of the traditional punk rock record shop in São Paulo, Fábio, was also able to continue to provide impetus during this time. So he stepped, through members u. a. the band Agrotóxico strengthened as Olho Seco also internationally. Of the older bands, Cólera and Garotos Podres toured internationally several times, Ratos de Porão even very often.

today

To this day, the punk scene in Brazil has remained active and diversified. Even if there is punk in all urban regions in Brazil, the big cities and in general the coastal zones from southern Brazil to Rio de Janeiro and Espírito Santo are still the areas with the most active local punk scenes, as well as the capital Brasília. The most important source of inspiration for the Brazilian scene, however, is still the scene in and around São Paulo, followed by Curitiba and Rio. Similar to Europe or North America, the scene in Brazil is confronted with a relative aging , even if new bands continue to emerge and young people come to punk. So far, the punk scene in Brazil has remained very lively. The scene has also continued to consolidate. Cities like São Paulo or Rio de Janeiro are now common stops for international punk bands. And through the frequent tours of Brazilian bands, especially in Europe and the USA, and through the numerous international releases by Brazilian bands, punk has also shed its former exotic status in Brazil . Especially in Curitiba and Rio de Janeiro, but especially in the greater São Paulo area, the structure of the scene is largely comparable to that of Europe and North America.

literature

  • Antonio Bivar: O Que é Punk. Editora Brasiliense, São Paulo 1992, ISBN 85-11-01076-9 (5th edition 2001)
  • Ricardo Alexandre: Dias de Luta - O Rock eo Brasil Dos Anos 80. DBA / Dórea Books and Art, São Paulo 2002, ISBN 978-857234-253-7
  • Michel Stamapopoulos: Você quer ser Jonny? Olho d´Água, São Paulo 2007, ISBN 978-857642-012-5 (semi-documentary novel by Garotos Podres - bassist Sukata )
  • Silvio Essinger: Punk - Anarquia Planetária ea Cena Brasileira. Editora 34 / University of Texas , ISBN 978-857326-147-9
  • Janice Caiafa: O Movimento Punk na Cidade. J. Zahar Editor, 1985
  • Paulo Marchetti: O diário da Turma, 1976-1986: a história do rock de Brasília. Conrad Livros / University of Texas 2001, ISBN 978-858719-337-7

Videos

Individual evidence

  1. ↑ Ricardo Alexandre: Dias de Luta - O Rock eo Brasil Dos Anos 80th 1st edition, DBA / Dórea Books and Art, São Paulo 2002, page 51 ( ISBN 978-857234-253-7 )
  2. ↑ Antonio Bivar: O Que é Punk. 5th edition, Editora Brasiliense, São Paulo 1992, page 93ff ( ISBN 85-11-01076-9 )
  3. ↑ Ricardo Alexandre: Dias de Luta - O Rock eo Brasil Dos Anos 80th 1st edition, DBA / Dórea Books and Art, São Paulo 2002, page 49ff ( ISBN 978-857234-253-7 )
  4. ↑ Antonio Bivar: O Que é Punk. 5th edition, Editora Brasiliense, São Paulo 1992, page 130ff ( ISBN 85-11-01076-9 )