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Arnold Umn 0130E 13988.Pdf Saudade, Duende, and Feedback: The Hybrid Voices of Twenty-First-Century Neoflamenco and Neofado A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Michael Davis Arnold IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Ofelia Ferrán and Dr. Fernando Arenas June 2013 © Michael Davis Arnold 2013 Acknowledgements This study could not have been accomplished without the generous assistance of Fernando Arenas, Ofelia Ferrán, Matthew Rahaim, Ana Paula Ferreira, Raúl Marrero- Fente, Michelle Hamilton, Hector Fouce, Rui Vieira Nery, María del Rocío Herrera Alonso, Henrique Amaro, Sandra Baptista, Julian Demoraga & Diego “el Kinki”, Anabela Duarte, Miguel Filipe, África Gallego, Paulo Pedro Gonçalves, Pedro Gonçalves, Marco Miranda, Marta Miranda, Viviane Parra, Jorge Pires, Nathalie García Ramos, Elsa Rovayo, Ana Saboya, Sara Simões, Tó Trips, Luís Varatojo, Tó Viegas, Ehsan Alam, Natasha Hassett, Molly Lopresti, Edu Rodriguez, Daniel Arbino, Wayne and Julane Severson, Vincent and Ann Arnold, Alan and Lisa Danhof Arnold, and Laura Severson. i Dedication This thesis is dedicated to my corazón, Laura Severson, and in loving memory of my sister, Jessica Marie Arnold. ii Abstract The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons—Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national- gender identity, and the economic crisis plaguing contemporary Europe. iii Table of Contents List of Tables……………………………………………………………………………...v List of Figures………………………………………………………………………….…vi Introduction………………………………………………………………………………..1 Chapter 1: Historical Review…………………………………………………………….81 Chapter 2: Habitus, Nostalgia, and Deterritorialization in Neofado……………………161 Chapter 3: Iberian Indie Finds Roots…………………………………………………...211 Chapter 4: Indie Electronic Neofado and Neoflamenco…...…………………………...263 Chapter 5: Local Knowledge, Sustainable Capitalism, Free Culture……………..……329 Chapter 6: Unmasking the Neoflamenco and Neofado Female………………………...395 Conclusions……………………………………………………………………………..453 Bibliography……………………………………………………………………………468 Discography…………………………………………………………………………….481 iv List of Tables Table 1. Dead Combo: Members, Dates, Places, Albums, Sub-Genres, and Influences……………….......64 Table 2. Ovelha Negra and Viviane: Members, Dates, Places, Albums, Sub-Genres, and Influences……161 Table 3. Pony Bravo, Los Planetas, and Novembro: Members, Dates, Places, Albums, Sub-Genres, and Influences…………………………………………………………………………………………………..211 Table 4. A Naifa, M-Pex, and El Ultimo Grito: Members, Dates, Places, Albums, Sub-Genres, and Influences. …………………………………………………………………………………………………263 Table 5. OqueStrada and Canteca de Macao: Members, Dates, Places, Albums, Sub-Genres, and Influences…………………………………………………………………………………………………..329 Table 6. La Shica, Mil i Maria, and Deolinda: Members, Dates, Places, Albums, Sub-Genres, and Influences…………………………………………………………………………………………………..395 v List of Figures Figure 1. Dead Combo from left to right …………………………………………………………….……..64 Figure 2. Cover for Camarón´s album La leyenda del tiempo……………………………………………...88 Figure 3. Kiko Veneno……………………………………………………………………………………...90 Figure 4. The Brothers Raimundo and Rafael Amador of Pata Negra……………………………………...93 Figure 5. Evaristo Páramos of La Polla Records……………………………………………………………95 Figure 6. Bust of António Variações in Fiscal, Amares Portugal, by the sculptor Arlindo Fagundes…….124 Figure 7. Rão Kyao at FMM Festival das Músicas do Mundo in Porto Covo, Portugal…………………..127 Figure 8. Album cover for Paulo de Carvalho´s Desculpem Qualquer Coisinha…………………………129 Figure 9. Madredeus in Aveiro, Portugal………………………………………………………………….134 Figure 10. Mísia……………………………………………………………………………………………136 Figure 11. Enrique Morente at the Palau de la Música Catalana on March 13th, 2009…………………...151 Figure 12. Marina ‘la Canillas’ of Ojos de Brujo………………………………………………………….154 Figure 13. Ovelha Negra from left to right…………………………………………...……………………183 Figure 14. Viviane from left to right ……………………………………………………………………...197 Figure 15. Pony Bravo and pony……..…………………………………………………………………....220 Figure 16. Procesión de las Azores. ………………………………………………………………………229 Figure 17. Concierto en el cccb…………………………………………………………………….....…...231 Figure 18. 2050: Cambio climático. …………………………………………………………………..…..233 Figure 19. Los Planetas at the 2007 Sonorama Festival. ………………………………………………….240 Figure 20. Novembro from left to right ……………………………………………………………….…..249 Figure 21. “Comparativo: Guitarra Portuguesa Tradicional, NOVEMBRO P1 e NOVEMBRO P2”.…....252 Figure 22. Novembro Promotional poster/album cover for Novembro´s À deriva…………………...…..255 Figure 23. Author´s Google Maps screenshot of 38-44 Rua da Alegria, Lisbon, Portugal……………..…257 Figure 24. A Naifa from left to right…..…………………………………………………………………..267 Figure 25. M-Pex at the the GaloBar in Lagos, Portugal ……….………………………………………...287 Figure 26. El Ultimo Grito: Unlimited Trance Flamenco…………………………………………………307 vi Figure 27. OqueStrada playing live in studio for the 75th Anniversary of Rádio Pública…………………353 Figure 28. Canteca de Macao´s Ana Saboya wearing a bata de cola perroflauta ……………………......366 Figure 29. La Shica…………………………………………………………………………….………….401 Figure 30. Still from the documentary Ocaña, retrato intermitente ……………………….……………..407 Figure 31. Mil i Maria from left to right…………………………………………………….……………..427 Figure 32. Deolinda, live in Oeiras, Portugal, from left to right ………………………………………….439 Figure 33. The Public Face of Deolinda…………………………………………………….……………..441 vii Introduction As I spent the summer of 2008 in Lisbon considering the different possible directions for this dissertation, I saved up some of the FLAS scholarship money I had received to study Portuguese and searched out every single indie record shop in the city with the goal of purchasing as many contemporary Portuguese underground and indie albums as I could find.1 To my chagrin, all but one indie music store had dedicated their shelves to the hottest international (i.e. Anglophone) indie bands of the moment, without as much as a single space for a contemporary Lisbon band to even consign its latest album. Any promising indie Bairro Alto record shop (Discolecção, for instance) had approximately the same selection as any hip Minneapolis uptown record shop (Treehouse Records, for instance). But at least at Treehouse one can browse through a variety of albums made in Minneapolis. The one independent shop that did have a small selection of recent, non-mainstream Portuguese music was Groovie Records, co-owned by a 1 The term underground rock is very vague and encompasses a vast field of subgeneric affinity groups and even splinter groups within those groups. In the interest of clarity I will be referring to bands that often are termed simultaneously underground and indie as indie. Indie and underground music were once nearly synonymous terms, and both can be traced back to the same musical ancestors, most notably The Velvet Underground. The term indie developed as a generic indicator out of the independent underground (mostly Anglophone) music scene during the 1970 to the 1980s. After the rampant success of the Aberdeen-based grunge band Nirvana’s first major label release Nevermind (1991) with DGC Records, other major labels scrambled to cash in on what was also known as “alternative”, “progressive”, or “modern” rock. The co- optation and commercialization of indie bands by major labels involved a major label buying the contract of a band from an indie label or buying the entire label outright. Indie rock became a catch-all term for more visible, yet still non-mainstream rock, and nearly all rock that could be found on ever-larger independent record labels and indie subsidiaries of the majors. Underground music, on the other hand, refers to a variety of musical subgenres that occasionally develop a subcultural cult following despite their lack of mainstream (an often even indie) appeal, visibility, or commercial promotion. In many instances the line between the two gets somewhat hazy, and is often a product of the way each individual band presents itself to the larger public: an indie rocker might consider himself underground, but an underground musician would rarely
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