caa a22 4500 388112859 CHVBK 20180307125358.0 cr unu---uuuuu 161130e199910 xx s 000 0 eng 10.1017/S0261143000008898 doi S0261143000008898 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000008898 Magaldi Cristina Adopting imports: new images and alliances in Brazilian popular music of the 1990s [Elektronische Daten] [Cristina Magaldi] Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound' might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such as samba-rock, samba-reggae, mangue-beat, afro-beat, for-rock (a contraction of forró and rock), sertaneja-country, samba-rap, and pop-nejo (a contraction of pop and sertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene. Copyright © Cambridge University Press 1999 Popular Music Cambridge University Press 18/3(1999-10), 309-329 0261-1430 18:3<309 1999 18 PMU https://doi.org/10.1017/S0261143000008898 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000008898 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Magaldi Cristina NATIONALLICENCE 773 0- Popular Music Cambridge University Press 18/3(1999-10), 309-329 0261-1430 18:3<309 1999 18 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 224433660 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge