Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum

Detalhes bibliográficos
Autor(a) principal: Palombini, Carlos
Data de Publicação: 2011
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/41324
Resumo: Through an examination of the phonogram Gargalhada (pega na chaleira) [laughter (picking up the kettle)], chansonnette sung by Eduardo das Neves, the origin of the expression “pegar na chaleira” (bootlicking) emerges, together with incongruities in the Instituto Moreira Salles online catalogue. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labelled as a lundum, a paradigmatically Afro-Brazilian genre, in the 1915–1926 catalogues. The music and laughter that Neves appropriates to himself were created by George W. Johnson, the first black star of early phonography, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated crioulo stages a satire on the behaviour of upper-class Rio de Janeiro males. In this process, the coon song turns into its antithesis.
id UFMG-3_bbb6fee8e9502bc8029cf05c183c5b69
oai_identifier_str oai:periodicos.ufmg.br:article/41324
network_acronym_str UFMG-3
network_name_str Per Musi
repository_id_str
spelling Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundumFonograma 108.077: o lundu de George W. JohnsonFonograma 108.077: o lundu de George W. JohnsonChansonnetteLundumCoon songPhonographyBrazilian OdeonCançonetaLunduCoon songFonografiaCasa EdisonCançonetaLunduCoon songFonografiaCasa EdisonThrough an examination of the phonogram Gargalhada (pega na chaleira) [laughter (picking up the kettle)], chansonnette sung by Eduardo das Neves, the origin of the expression “pegar na chaleira” (bootlicking) emerges, together with incongruities in the Instituto Moreira Salles online catalogue. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labelled as a lundum, a paradigmatically Afro-Brazilian genre, in the 1915–1926 catalogues. The music and laughter that Neves appropriates to himself were created by George W. Johnson, the first black star of early phonography, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated crioulo stages a satire on the behaviour of upper-class Rio de Janeiro males. In this process, the coon song turns into its antithesis.Un examen del fonograma Gargalhada (pega na pava), una canción de Eduardo das Neves, expone el origen de la expresión "pegar na pava" y revela incoherencias en los criterios de catalogación en línea del Instituto Moreira Salles. Probablemente fechada en 1906, la grabación aparece como "lundu" en los catálogos comerciales de 1915-1926, y las mismas ideas musicales fueron reutilizadas en otras grabaciones sonoras de la Casa Edison comercializadas entre 1913 y 1919. La música y las risas que Neves reutiliza fueron creadas por George Washington Johnson, la primera estrella negra de la grabación mecánica. Pero mientras el antiguo esclavo norteamericano se auto-ridiculiza según los estereotipos blancos, el autodenominado "criollo" escenifica una sátira del comportamiento masculino de las clases dirigentes de Río. En el proceso, la canción del mapache se convierte en la antítesis del género.Um exame do fonograma Gargalhada (pega na chaleira), cançoneta por Eduardo das Neves, expõe a origem da expressão “pegar na chaleira” e revela incongruências nos critérios de catalogação online do Instituto Moreira Salles. Provavelmente datada de 1906, a gravação aparece como um “lundu” em catálogos comerciais de 1915–1926, e as mesmas ideias musicais foram reaproveitadas em outros registros sonoros da Casa Edison comercializados entre 1913 e 1919. A música e o gargalhar que Neves reaproveita foram criados por George Washington Johnson, o primeiro astro negro da gravação mecânica. Mas enquanto o ex-escravo norte-americano se auto-ridiculariza de acordo com estereótipos brancos, o autodenominado “crioulo” encena uma sátira ao comportamento masculino das classes dominantes do Rio. Neste processo, a coon song transforma-se na antítese do gênero.Universidade Federal de Minas Gerais (UFMG)2011-01-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontexttextinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/41324Per Musi; No. 23 (2011): General Topics; 1-13Per Musi; Núm. 23 (2011): General Topics; 1-13Per Musi; n. 23 (2011): General Topics; 1-132317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/41324/31496http://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessPalombini, Carlos2023-01-25T11:56:04Zoai:periodicos.ufmg.br:article/41324Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-01-25T11:56:04Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
Fonograma 108.077: o lundu de George W. Johnson
Fonograma 108.077: o lundu de George W. Johnson
title Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
spellingShingle Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
Palombini, Carlos
Chansonnette
Lundum
Coon song
Phonography
Brazilian Odeon
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
title_short Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
title_full Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
title_fullStr Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
title_full_unstemmed Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
title_sort Phonogram 108.077 (Brazilian Odeon): George W. Johnson’s lundum
author Palombini, Carlos
author_facet Palombini, Carlos
author_role author
dc.contributor.author.fl_str_mv Palombini, Carlos
dc.subject.por.fl_str_mv Chansonnette
Lundum
Coon song
Phonography
Brazilian Odeon
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
topic Chansonnette
Lundum
Coon song
Phonography
Brazilian Odeon
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
Cançoneta
Lundu
Coon song
Fonografia
Casa Edison
description Through an examination of the phonogram Gargalhada (pega na chaleira) [laughter (picking up the kettle)], chansonnette sung by Eduardo das Neves, the origin of the expression “pegar na chaleira” (bootlicking) emerges, together with incongruities in the Instituto Moreira Salles online catalogue. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labelled as a lundum, a paradigmatically Afro-Brazilian genre, in the 1915–1926 catalogues. The music and laughter that Neves appropriates to himself were created by George W. Johnson, the first black star of early phonography, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated crioulo stages a satire on the behaviour of upper-class Rio de Janeiro males. In this process, the coon song turns into its antithesis.
publishDate 2011
dc.date.none.fl_str_mv 2011-01-10
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
text
text
info:eu-repo/semantics/other
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/41324
url https://periodicos.ufmg.br/index.php/permusi/article/view/41324
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/41324/31496
dc.rights.driver.fl_str_mv http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 23 (2011): General Topics; 1-13
Per Musi; Núm. 23 (2011): General Topics; 1-13
Per Musi; n. 23 (2011): General Topics; 1-13
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
_version_ 1799711237218500608

Registros relacionados