On November 14th, the 25th Latin Grammys took centre stage, but it wasn't just the iconic awards ceremony that had everyone talking. The debut of Os Garotin, a fresh Brazilian band (formed in 2022), is already making waves in the music world. With the release of their first full album and a series of high-profile appearances on Brazilian TV, they’ve certainly turned heads. So, what’s drawing so much attention? It’s the unique blend of sounds they offer—blurring the lines between traditional MPB (Música Popular Brasileira) and the catchy dynamics of a boy band. Let’s take a closer look at what makes Os Garotin stand out and why their unique blend of genres is turning heads in the music world.
Os Garotin are from the outskirts of São Gonçalo, a historically working-class city with deep roots in Afro-Brazilian culture and local identity. It’s worth mentioning that São Gonçalo is also one of the hometowns of Carioca Funk and Funk Melody.
Funk music officially arrived in Brazil during the 1970s, quickly captivating influential musicians like Tim Maia (1943-1998) and Tony Tornado (1948-2021), who blended American funk with Brazilian rhythms. One of the key moments in its rise was the radio broadcaster Big Boy (1943-1977) promoting the 'Bailes da Pesada' at Canecão in Rio de Janeiro. These parties featured a mix of rock, soul, groove, and funk, becoming a popular spot for the city’s youth. However, when this event eventually came to an end, it marked the beginning of the ‘baile funk’ movement, which incorporated elements of Miami bass, a genre of electronic music popular in the U.S.
Throughout the 1970s, events began evolving by incorporating "black" into their names or adopting party styles inspired by Blaxploitation films, particularly Shaft (1971), starring Richard Roundtree with a soundtrack by Isaac Hayes. The rise of Blaxploitation films coincided with Hollywood’s financial crisis, capitalising on the social momentum of the civil rights movement, Black Power, and the Black Panther Party. These films resonated with Black audiences by featuring stylish, empowered heroes and heroines, supported by a soundtrack of Black American music.
The Black movement began to emerge in Brazil during the slavery period and intensified in the 1960s. In Brazil, the influence of this movement gained national recognition in 1976 when a journalist coined the term "Black Rio." This cultural phenomenon blended traditional Brazilian rhythms like samba and forró with a strong influence from American Black music, especially soul, jazz, and funk, creating a distinctly Brazilian expression of Black identity and culture. Os Garotin drank a lot from that through their personas, sound and style.
Carioca Funk, as it came to be known, began taking shape in the 1980s. The genre was a fusion of electronic beats from hip-hop and afrobeat, powerful drumming influenced by Candomblé (a Brazilian Afro-religion), and rap poetry. DJs became skilled at mixing repetitive beats with melodies. The themes of early funk were rooted in everyday life in the suburbs and favelas (slums) of Rio de Janeiro, with lyrics reflecting the struggles and realities of these areas.
By the 1990s, as urban violence escalated and police forces began invading the favelas, funk music took on a more politically charged tone. The lyrics started to reflect these harsher realities and became a platform for addressing social and political issues, a platform of opportunity to the poor. Over time, the genre continued to evolve, leading to the creation of different subgenres, many of which reflected regional identities or combined funk with international music trends.
As funk evolved, the lyrics became more provocative and sexualised. This shift has sparked frequent debates, especially because music videos often objectify and sexualise women. However, in recent years, female artists have emerged to challenge these narratives and use the genre as a platform for empowerment. Artists like Anitta, MC Rebecca, Lexa, Ludmilla, and Valeska Popozuda have become prominent figures in the scene, promoting a more empowering and independent image for women in funk music.
Despite its evolution, funk remains stigmatised due to its humble origins, where poverty in Brazil is intertwined with racism and aporophobia. Some have even called for the criminalization of the genre, dismissing it as sound pollution.
From the late 1980s to the 2010s, funk melodies also began to explore more nuanced and romantic themes, shifting away from the genre’s earlier focus on raw and provocative content. This evolution showcases the diversity and adaptability of funk music across generations.
“The term ‘boy band’ sounds more like an American type of pop, but we’re abrasileirando.”
Despite its evolution, funk remains stigmatised due to its humble origins, where poverty in Brazil is intertwined with racism and aporophobia. Some have even called for the criminalization of the genre, dismissing it as sound pollution.
From the late 1980s to the 2010s, funk melodies also began to explore more nuanced and romantic themes, shifting away from the genre’s earlier focus on raw and provocative content. This evolution showcases the diversity and adaptability of funk music across generations.
MPB is an acronym for música popular brasileira, which translates to "Brazilian popular music." It succeeded Bossa Nova, representing a fusion of various rhythms and musical movements already present in Brazil. MPB introduced a new concept of national music, blending regional styles with a broader national identity.
However, initially, it was largely embraced by the intellectual and artistic elite, with its sophisticated sound often aimed at higher social classes. For many, it symbolised a refined, intellectual approach to music, sometimes alienating working-class and poorer communities who felt excluded from its more formal, upper-crust associations.
Defining MPB can spark debates and varying opinions, but it is widely agreed that the genre is characterised by its diversity. As a vast country, Brazil hosts a wide array of musical styles that reflect its regional differences while unifying the country through its unique sound. MPB was born from this melting pot of influences, giving rise to a distinct and iconic sound.
During Brazil's 21-year-long military dictatorship, MPB became more than just music; it became a powerful tool for cultural resistance. It challenged censorship, advocated for political reform, and expressed solidarity with marginalised communities, all while enduring a period of authoritarian rule marked by human rights abuses, political persecution, exile, and censorship. MPB’s resilience during this time made it not only a musical genre but also a voice of defiance and unity in the face of oppression.
A boy band is typically a group of young, attractive men performing catchy pop songs with harmonised vocals and choreographed dance routines, marketed predominantly to young female audiences. Each member embodies a distinct personality type, creating a sense of intimacy through social media and fan engagement, such as meet-and-greets and fan clubs. While their music often focuses on themes of love and fun, their impact extends beyond the stage, with a global presence fuelled by merchandise, media appearances, and dedicated fanbases.
In Brazil, boy bands have always been a rare phenomenon compared to other parts of the world, but when they did emerge, they made a significant impact. The 1980s saw the rise of groups like Polegar, Dominó, and the Paquitos (from the popular TV show Xou da Xuxa), introducing Brazilian audiences to catchy pop tunes and synchronized dance moves. While boy bands remained uncommon, the 1990s and 2000s brought a second wave with groups like Br’Oz, KLB, Twister, Cine, Restart, and P9, who blended global pop influences with local sounds, capturing the attention of Brazilian teenagers. A brief yet memorable chapter in Brazil’s music history.
The majority of the boy bands in Brazil were cisgender, white, and embodied traditional masculine ideals, often reflecting an idealised version of male identity. Their hyper-masculine personas, combined with homoaffective dynamics—where male bonds had a homoerotic undertone—made them targets of criticism. They often faced condemnation from parents and religious institutions and became targets of envy and hate from other males, often masked behind hate and homophobia, the repression of female sexuality and sometimes even racism. Despite this, these boy bands played a significant role in shaping teen culture, providing the soundtrack to many youths' "golden days." They resonated with young audiences, offering an escape while also engaging in positive dialogues around social issues. Additionally, they became catalysts for many teenagers’ first experiences of sexual awakening, influencing how young people explored their identities.
Each member of Os Garotin brings their own unique rhythm to the band. Anchietx represents R&B and rap, Leo Guima channels the Brazilian tradition of soul music, and Cupertino leans towards the classic sound of MPB. Growing up, both the church and the streets played equally significant roles in shaping their lives.
With two Latin Grammy Awards in hand—Best Portuguese Language Contemporary Pop Album and Best New Artist—and 797.2K monthly listeners across streaming platforms, their impact is undeniable. "How happy we are, folks. We come from a place where you need a lot of boldness to dream, let alone make those dreams come true. But life guided us, for a reason we can’t explain. It brought these three boys from São Gonçalo together in a meeting full of mysteries. I can only be grateful for life's surprises," said one of the members during the thank-you ceremony.
Os Garotin is a symbol of hope for underprivileged black youth in Brazil, where poverty has a colour. The last country in Latin America to abolish slavery without any historical reparation or integration, which left them in the margins for long. A beacon for a generation of Black Brazilians who are seeking direction and giving them a sense of pride and identity. Out of the police bullets which always manage to target them or the news that does not do enough coverage of this musical phenomenon. How can the rise of groups like Os Garotin challenge and redefine the musical landscape for underprivileged Black youth in Brazil? After all, music is no longer just for a select few—it's connection; it is for everyone, regardless of background or social status.
This piece is also available on Outside Left: https://outsideleft.com/main.php?updateID=3291
Komentar