reader? https://play.google.com/be THBARAQBAIB9g=GES. Gx] Mt Enos (12319) BY Stee Sugeno: impetaao sole [} Nomae da ABNT =F istry of Music and Nation in Luanda, Angola, from 1945 to Recent Times —\ sctitive and generally poorly remunerated, was more able, Recreational and sports associations and clubs ished in the various musceques. Almost everywhere went in the musseques one could hear the sounds of nlan music on transistors glued to the ears of young slan men or on the home radios and record players he emerging peity bourgeoisie, Despite the rences between this emerging class, the old elites, he bulk of recently emigrated musseque residents, hree groups together created an urban culture in h the horizontal signifier patricio, compatriot, offen rseded the vertical relations of class. MASCULINITY AND MUSIC in particular, spoke with great animation about the Folha Online Basi] ) DeiensioCravo le |S Esa Torent a J. Moonta rivalry between bands, their fame as musicians, and friendships.” Male camaraderie characterized the n scene in the musseques from at least the late 1! Carlos Alberto Pimentel remembered rivalries bet ‘bands in that era as ultimately unifying and fiien oriented, productively competitive like team sports: We created a kind of conitontation. This or # neighborhood would go playin anoth neighborhood in order to see who played better, show who played better. And then there was alwa ‘a group of girls that would accompany us frorn th neighborhood to ours—and there was temible [i great] stuf!) Sometimes we would get angry and « vp in fights. That was terrible! [laugiis] But in t ‘end, it was healthy because we made great friends that period, We ended up coming together at ¢(/M Entrade (13386) -reinai- x G) marissamoarmanintons ¥ Y D> Intonations A Sociel Hiss x s/reader?id=le THEAAAQBAJ& SRB scihubtw|520.Web se x WN GBSPTTIWS024 € > & Oi Seguro | httys://play.google.com! EE Aspe Galera do Web Stee M4 Entrods (12219) [BY Ste Sugersor [ Impertada dole [] Norns: 63 ABNT-F [ff FolhaOnine-Brasi [Dice «Sali Intonations, A Soctal History of Music and Nation in Luenda, Angola, from 1945 to Recent Times ~ Vaiss J Moot parties where we would all play music. We even associated with these st began to see that all of us were in favor of creating of prize or symbol of vi ‘more happiness and animation in the culture of members played particu Lvanda.** follow them home to the Band nomenclature « Initially, bands were a form of recreation formed by: groups of male schoolmates or fiends fiom the same musseque. Rivalries between bands produced 2 sense of ‘The musician Carlos Lar his fiends fiom the ) lived, was called the 3 anusic as recreation, or music as a sports-like activity.”? explained: Indeed, bands are much like teams—a group of people must work together, each refining his or her talent and Kissueiais a Kimbu skill in the context of the whole. Rivalries between bands enemies, or bandits, ‘created an opportunity for young men to learn to interact In that period the er ‘with other groups, names that denoteé with youths from other neighborhoods and schools, to defend themselves, and also to see conflict as happier names whi 60 resolvable.” Female friends and attention were designations in ordM Entrade (13386)-reis2l- x G_ marissa moormen Ine D> Intonations A Social Hiss» s/reader? THBARAQBALE € > & Oi Seguro | httys://play.google.com! ‘ops QU] Galera do Wee Sice M™ Enteds (12319) BY StzeSugersos [ impertad doe [} Nomas a ABNT-F «Sali Intonations, A Soctal History of Music end Nation in Luanda, Angola, from 1945 to Recent Times — i FohaCnine-Brasi T) ) Dice J. Mootnat soceer—you go to that time the disp swe are stronger. Similarly, Pimentel noted that bands often played a song with a new song. Th people and we w surprise the other g with their name in it in order to fix themselves in the minds of their audiences. As bands became increasingly oriented to an urban ‘music circuit that included many different neighborhoods was @ group that bi an appearance at Watercolor, a talent and performance sites, rivalries centered on offering in the musseques]. something new to the audience, Bands competed for ‘who they are! Whe audience approval whether at a party, at a club, or in one everyone applauded of the musical talent shows of the mid-1960s, Matemona was Ngoma Jazz's Sebastido, the guitarist for the band Ngoma Jazz who and walked in with moved to Luanda in 1960, described the rivalry in terms enthusiastic! We ha of sportsmanship: At other points in the i In that period, we played as if there were a dispute significance of the aud EMM: What do you mean”] A dispute, as if it were band and 2 good mus