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Brazilian Music as World Music in the Late 1980s Bossa Mundo: Brazilian Music in Transnational Media Industries K.E. Goldschmitt Print publication date: 2019 Print ISBN-13: 9780190923525 Published to Oxford Scholarship Online: October 2019 DOI: 10.1093/oso/9780190923525.001.0001 Brazilian Music as World Music in the Late 1980s K. E. Goldschmitt DOI:10.1093/oso/9780190923525.003.0005 Abstract and Keywords This chapter traces the development of Brazilian music within a “world music” framework, through the influence of music compilations in contrast with attempts to market a short-lived world dance craze (lambada), and through the participation of Margareth Menezes in a high-profile international tour. These musical phenomena owed their heightened prominence to contact between Brazilians and enterprising outsiders in Brazil, especially in the state of Bahia. Brazil’s international musical brand would be linked either to the kinds of music that US-based rock and pop musicians tapped in their effort to revitalize their sound, or to specialist record labels compiled to meet the rising demands of the market. Through these contrasting examples, the chapter historicizes the emergence of “world music” as a marketing genre and subject of scholarly inquiry. Keywords: David Byrne, Margareth Menezes, compilation albums, world music, lambada, dance fads In 1989, major developments for Brazilian music in English-speaking markets coincided in an artistic and social watershed. David Byrne’s new world music record label Luaka Bop, then a subsidiary for Sire Records (owned by Warner Bros.), released Beleza Tropical: Brazil Classics 1, a compilation that would shape the Anglophone reception of Brazilian popular music for a new generation. The period also saw the rapid rise and fall of a Brazilian dance-floor fad (the lambada) and the celebration of MPB artists as viable international stars. Finally, 1989 was the first year after Brazil’s Constituent Assembly drafted Page 1 of 31 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. Subscriber: University of Illinois - Urbana Champaign; date: 01 May 2020 Brazilian Music as World Music in the Late 1980s a new constitution (ratified in October 1988), paving the way for the first direct ballot presidential elections since the 1964 coup. All of this happened in the midst of a major period of emigration when an estimated 1.4 million Brazilians left due to economic and fiscal instability during the transition to a civilian government (Margolis 1995). Joshua Clover (2009) persuasively argues that 1989 was a landmark year, not just in terms of how historians talk about global politics with the fall of the Berlin Wall, but also for major alignments that informed popular music at the end of the twentieth century and beyond. For the international music industries, the turn to the 1990s marked the legitimacy of so-called “world music” entering the Global North with formal institutional recognition alongside events in major cities in Europe and North America.