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GERAÇÃO BOOM BAP Sampling E Produção Musical De Rap Em Belo Horizonte

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GERAÇÃO BOOM BAP Sampling E Produção Musical De Rap Em Belo Horizonte UNIVERSIDADE DO ESTADO DE MINAS GERAIS Programa de Pós-Graduação em Artes GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Michel Antônio Brasil Teixeira Orientador: Luiz Alberto Bavaresco de Naveda Belo Horizonte 2018 Michel Antônio Brasil Teixeira GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Dissertação apresentada ao Programa de Pós- Graduação em Artes da Universidade do Estado de Minas Gerais, como requisito para obtenção do título de Mestre em Artes. Área de Concentração: Artes/Música Linha de pesquisa: Dimensões Teóricas e Práticas da Produção Artística Orientador: Luiz Alberto Bavaresco de Naveda Bolsista FAPEMIG – Programa de Apoio à Pós- Graduação Belo Horizonte 2018 FICHA CATALOGRÁFICA Teixeira, Michel Antônio Brasil T266 Geração Boom Bap: sampling e produção musical de rap em Belo Horizonte / Michel Antônio Brasil Teixeira. – Belo Horizonte, 2018. 195 f. il. Orientador: Luiz Alberto Bavaresco de Naveda Dissertação (mestrado) – Universidade do Estado de Minas Gerais 1.Música – Belo Horizonte (MG) 2. Rap (Música) 3. Hip Hop (Música) 4. Música – produção I. Naveda, Luiz Alberto Bavaresco de II. Universidade do Estado de Minas Gerais (UEMG) Mestrado em Artes. III. Título CDD: 780.9151 Bibliotecária responsável: Cleide A. Fernandes CRB6/2334 Agradecimentos Gostaria de agradecer a Deus e a todas as forças superiores. Agradeço imensamente a Paula e Pedrinho, meus companheiros de todas as jornadas. Obrigado pelo carinho, paciência e compreensão. Este trabalho não seria possível sem o apoio e a presença de vocês. Agradeço ao meu pai, minha mãe e minha irmã por todo suporte ao longo da vida. Obrigado Regina, Paulo, e Fabiano pelo suporte diário nos últimos anos. Agradeço a todos os beatmakers, rappers e DJs que gentilmente colaboraram com a pesquisa. Sem o trabalho e as palavras de vocês, esta pesquisa simplesmente não existiria: DJ A Coisa, DJ Roger Dee (Grandmaster Dente), DJ Spider, Eazy CDA, Enece, DJ Giffoni (Giffaz), PDR Valentim, Neghaun, Roger Deff, Monge MC, Dica Beats, QDC Beats, PNK. Um salve para todos os beatmakers que contribuíram com o mapeamento, que deu origem ao Apêndice 3 (p. 188). Um salve especial para Clebin Quirino (Clebeats) e Preto C, que me receberam pacientemente diversas vezes em seus estúdios. Agradeço aos funk brothers do Coletivo Dinamite pelos sons, pelas jams, e toda a musicalidade envolvida nessa história: Fernando Dinamite (Fernas), Idio Guile (Zila), Comum (André Novais “artista plástico”), Warley Musquito (sangue-funk) e Mr. Jammstein. Agradeço a Luiz Naveda pelo inestimável suporte ao longo de todo o processo. Agradeço também aos membros da banca, Lúcia Campos, Helena Lopes e Carlos Palombini, pelas críticas, sugestões e pela leitura atenciosa do texto. Agradeço a Rafael Dupim e Renato (Valero) Jacques, pelos papos e pela moral no começo desse plano. Gratidão aos preto-velhos, erês, caboclos, exus e demais entidades espirituais que contribuíram para esta (e outras) caminhadas. Agradeço enormemente à Vovó Maria Conga, Maria Padilha, Cabocla Iara, assim como as demais entidades e irmãos encarnados do Grupo Espírita Umbandista Caminho e Luz. Agradeço também aos diversos guias que têm trabalhado junto aos meus familiares. Saravá! Por fim, gostaria de agradecer à Fundação de Apoio à Pesquisa de Minas Gerais – FAPEMIG, pela contribuição prestada através de bolsa do Programa de Apoio à Pós- Graduação. Resumo O rap é um gênero musical que surgiu em Nova Iorque na década de 1970 como um elemento fundamental da cultura Hip Hop. A partir dos anos 1980, Belo Horizonte assimilou e produziu sua própria cultura de rap e Hip Hop. O uso de samples ou sampling - uma apropriação de excertos de obras musicais para criar novas obras - se estabeleceu na produção de rap desde os primórdios do Hip Hop. Esta técnica ajudou a configurar a sonoridade tradicional do gênero através dos beatmakers, que são os responsáveis por criar bases instrumentais para os rappers cantarem. Este estudo procura investigar como o sampling estabelece uma referência estética e procedimental para os beatmakers locais. Através de abordagens etnográficas e pela busca em uma diversidade de fontes de informação procurou- se (1) mapear as referências de produção e atuação de beatmakers de Belo Horizonte e região, (2) traçar um histórico crítico sobre digital sampling, (3) descrever como os produtores de Belo Horizonte usam o sampling, e (4) analisar sua utilização enquanto procedimento criativo local. Foram realizadas nove entrevistas com beatmakers entre outros agentes ligados ao rap, além de observação processos de gravação e produção musical. O estudo produziu uma série de representações dos panoramas culturais locais que sugerem que artistas locais possuem um comportamento híbrido em relação ao sampling e que, embora reconheçam a importância da técnica para a sonoridade do rap, sua relevância não se reflete na utilização constante da técnica nas produções locais. Palavras-chave: rap, produção musical, digital sampling, beatmakers, hip hop. Abstract Rap is a musical genre that emerged in New York in the 1970s as a fundamental element of Hip Hop culture. From the 1980s, Belo Horizonte assimilated and produced its own rap and hip hop culture. The use of samples or sampling - an appropriation of excerpts from musical works to create other works - has been established in rap production since the earliest days of Hip Hop. This technique helped to shape the traditional sonority of the genre through the work of the beatmakers, who are responsible for creating instrumental bases for rappers to sing. This study aims to investigate how sampling establishes an aesthetic and procedural reference for local beatmakers. Through ethnographic approaches and the search of a diversity of sources of information, we sought to (1) map the production references and performance of beatmakers from Belo Horizonte and region, (2) trace a critical history about digital sampling, (3) describe how the producers of Belo Horizonte use sampling, and (4) to analyze their use as a local creative procedure. Nine interviews were conducted with beatmakers, among other agents linked to rap, as well as observation of recording and musical production processes. The study produced a number of representations of local cultural panoramas that suggest that local artists have a hybrid behavior in relation to sampling and that, while recognizing the importance of the technique for rap sound, its relevance is not reflected in the constant use of the technique in the local productions. Keywords: rap music, musical production, digital sampling, beatmakers, hip hop. Índice de figuras Figura 1 – Ensoniq EPS (1989). Apesar de ser lançado em 1989, o EPS possui o design clássico dos primeiros samplers, com teclas para manipulação dos samplers e demais timbres. Fonte: www.vintagesynth.com..................................................................................................36 Figura 2 - E-mu SP 1200 (1987) – O sampler SP 1200, da E-mu, é uma mistura de sampler e bateria eletrônica, com a presença de botões e sliders. Fonte: www.vintagesynth.com...........36 Figura 3 - Sampler MPC 60, da Akai (1988). Um dos principais adventos do MPC são os pads para manipulação dos samples. Fonte: www.vintagesynth.com...............................................37 Figura 4: Relação entre agentes do mundo do rap em Belo Horizonte na década de 1990. Fonte: Elaboração própria.........................................................................................................69 Figura 5: Agentes e relações estabelecidas no mundo do rap em Belo Horizonte nos anos 2000...........................................................................................................................................76 Figura 6: Relação entre agentes do mundo do rap em Belo Horizonte de 2010 em diante......85 Figura 7: Eazy CDA em uma sessão de gravação com o rapper Marcelo Mascote. Acervo de Eazy CDA. Autor não-identificado...........................................................................................93 Figura 8: Estúdio “Produto Novo”, de Clebin Quirino. Foto: Clebin Quirino.........................94 Figura 9: Sala de produção e mixagem do estúdio Pro Beats. Foto: Michel Brasil..................95 Figura 10: Sala de gravação do estúdio de DJ Spider. Foto: Michel Brasil..............................95 Figura 11: Channel rack do projeto do beat de “Meus Heróis”. Imagem coletada a partir da captura de tela realizada durante entrevista com o produtor Clebin Quirino..........................158 Figura 12: Tabela representando a estrutura das seções e elementos da faixa “Meus Heróis”, de Comum e Clebin Quirino...................................................................................................159 Figura 13: Captura de tela demonstrando os cortes no sample (barras vermelhas) utilizado no beat da faixa “Meus Heróis”, do rapper Comum (Fonte: Clebin Quirino).............................162 Figura 14: Janela “Piano Roll” do software Fruit Loops, mostrando a programação n. 1 do sample de “Meus Heróis”. (Fonte: Clebin Quirino)...............................................................163 Figura 15: Janela “Piano Roll” do software Fruit Loops, mostrando a programação n. 2 do sample de “Meus Heróis”. (Fonte: Clebin Quirino)...............................................................164 Sumário Introdução.................................................................................................................................11 Sampling,
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