Marc A Hertzman – författare

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act-claiming ownership of a musical composition-set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act-claiming ownership of a musical composition-set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act—claiming ownership of a musical composition—set in motion a series of events that would shake Brazil''s cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music.

The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio''s pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

In After Palmares, Marc A. Hertzman tells the rise, fall, and afterlives of Palmares, one of history’s largest and longest-lasting maroon societies. Forged during the seventeenth century by formerly enslaved Africans in what would become northeast Brazil, Palmares stood for a century, withstanding sustained attacks from two European powers. In 1695, colonial forces assassinated its most famous leader, Zumbi. Hertzman examines the remarkable ways that Palmares and its inhabitants lived on after Zumbi’s death, creating vivid portraits of those whose lives and voices scholars have often assumed are inaccessible. With an innovative approach to African languages, and paying close attention to place as well as African and diasporic spiritual beliefs, Hertzman reshapes our understanding of Palmares and Zumbi and advances a new framework for studying fugitive slave communities and marronage in the African diaspora.

In After Palmares, Marc A. Hertzman tells the rise, fall, and afterlives of Palmares, one of history’s largest and longest-lasting maroon societies. Forged during the seventeenth century by formerly enslaved Africans in what would become northeast Brazil, Palmares stood for a century, withstanding sustained attacks from two European powers. In 1695, colonial forces assassinated its most famous leader, Zumbi. Hertzman examines the remarkable ways that Palmares and its inhabitants lived on after Zumbi’s death, creating vivid portraits of those whose lives and voices scholars have often assumed are inaccessible. With an innovative approach to African languages, and paying close attention to place as well as African and diasporic spiritual beliefs, Hertzman reshapes our understanding of Palmares and Zumbi and advances a new framework for studying fugitive slave communities and marronage in the African diaspora.

In After Palmares, Marc A. Hertzman tells the rise, fall, and afterlives of Palmares, one of history’s largest and longest-lasting maroon societies. Forged during the seventeenth century by formerly enslaved Africans in what would become northeast Brazil, Palmares stood for a century, withstanding sustained attacks from two European powers. In 1695, colonial forces assassinated its most famous leader, Zumbi. Hertzman examines the remarkable ways that Palmares and its inhabitants lived on after Zumbi’s death, creating vivid portraits of those whose lives and voices scholars have often assumed are inaccessible. With an innovative approach to African languages, and paying close attention to place as well as African and diasporic spiritual beliefs, Hertzman reshapes our understanding of Palmares and Zumbi and advances a new framework for studying fugitive slave communities and marronage in the African diaspora.

Refazenda connects a remarkable album by one of the 20th and 21st centuries' great musicians to a dazzling, often unexpected, array of people and places spread across the globe from Brazil to England to Chile to Japan. Critics and fans often project (or impose) desires and interpretations onto Gil that don't seem to fit. This book explores why familiar political and musical categories so often fall flat and explains why serendipity may instead be the best way to approach this mercurial album and the unrepeatable artist who created it. Based on years of listening to, studying, and teaching about Gil, and the author's own encounters with the album around the world, this book argues that Refazenda does, in fact, contain radical messages, though they rarely appear in the form, shape, or places that we might expect. The book also includes the first English-language translations of the album's lyrics, never-discussed-before 1970s Japanese liner notes, and a recounting of a forgotten moment when censors detained Gil during the album's debut tour.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Refazenda connects a remarkable album by one of the 20th and 21st centuries' great musicians to a dazzling, often unexpected, array of people and places spread across the globe from Brazil to England to Chile to Japan. Critics and fans often project (or impose) desires and interpretations onto Gil that don't seem to fit. This book explores why familiar political and musical categories so often fall flat and explains why serendipity may instead be the best way to approach this mercurial album and the unrepeatable artist who created it. Based on years of listening to, studying, and teaching about Gil, and the author's own encounters with the album around the world, this book argues that Refazenda does, in fact, contain radical messages, though they rarely appear in the form, shape, or places that we might expect. The book also includes the first English-language translations of the album's lyrics, never-discussed-before 1970s Japanese liner notes, and a recounting of a forgotten moment when censors detained Gil during the album's debut tour.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Refazenda connects a remarkable album by one of the 20th and 21st centuries' great musicians to a dazzling, often unexpected, array of people and places spread across the globe from Brazil to England to Chile to Japan. Critics and fans often project (or impose) desires and interpretations onto Gil that don't seem to fit. This book explores why familiar political and musical categories so often fall flat and explains why serendipity may instead be the best way to approach this mercurial album and the unrepeatable artist who created it. Based on years of listening to, studying, and teaching about Gil, and the author's own encounters with the album around the world, this book argues that Refazenda does, in fact, contain radical messages, though they rarely appear in the form, shape, or places that we might expect. The book also includes the first English-language translations of the album's lyrics, never-discussed-before 1970s Japanese liner notes, and a recounting of a forgotten moment when censors detained Gil during the album's debut tour.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.