O mundo do rap: entre as ruas e os holofotes da indústria cultural

• Ano de defesa: 2014
• Autor(a) principal: Nascimento, Mayk Andreele do
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Sociologia; Programa de Pós-Graduação em Sociologia; UFPB
• Palavras-chave em Português: Rap; Juventude; Cidade; Indústria cultural; Rap music; Youth; City; Cultural industry; CIENCIAS HUMANAS::SOCIOLOGIA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/tede/9729

This study aims to give an overview of the current scenario of the Brazilian rap. From the beginning of the XXI century a significant change in the Brazilian “ rap world”. Increased visibility in the entertainment industry as well as the incorporation of rap to a market logic sets new boundaries in this musical style generally associated with ghettos of large cities.This work aims to reflect two fundamental aspects of the world of Brazilian rap. Seeks to analyze the look that rappers dropped on the city and investigate how the sound emanating from the streets falls in the entertainment industry.The trajectory and the songs of rappers Criolo, Shawlin, Emicida and Marechal will be analyzed. His works help to thematize important changes in the rap music scene. The study of music was developed to understand the meanings attributed to the urban experience and the major dilemmas faced by artists in the current Brazilian cultural scene.The relationship of rap with the media presents as a space of constant negotiation. The national rap presents itself as a space laden with contradictions, especially from the moment they begin to share and reproduce the structures of the cultural industry. When the street culture of commodification shall be subject she enters in the dominant ideology circuits. With that contributes a universe of representations based on pictures fame, power and money. However, we must remember that rap is allowed to bring out elements of a discourse that is somewhat different from the standards established by the society of spectacle. On one hand, the entry in the cultural industry tends to give the rap traces of the goods produced in series, subordinating the language of standardized patterns targeting only the profit, on the other hand one can not forget in this worldview resistance that emerges the songs of rappers.