"Uma viagem envolvente ao coração no norte e nordeste : o batidão da Pabllo numa perspectiva da crítica musical nacional e estrangeira".

Abstract

Music criticism seeks to interpret and assess the technical, conceptual, and aesthetic aspects of a musical work. Being a field that is constantly evolving, the professional who engages in music criticism is seen as a "sociocultural detective" who plays an important role in guiding others through analysis and recommendations that can influence the perception and appreciation of music by its consumers. It is this conception that guides this work, which was written in the first person and aims to perceive, through comparative analysis, how the album "Batidão Tropical" by Pabllo Vittar was analyzed from the perspective of specialized music critics both nationally and internationally, and what aesthetic, political, and social issues were highlighted. In order to do this, each step of this extensive history will be contextualized, starting from the global pop culture, passing through Brazilian pop culture, which includes a communicational debate about the mainstream and the gears of the entertainment industry, based on authors such as Frédéric Martel, Thiago Soares, Jeder Janotti, Alan Mangabeira, and others, to the indications of a study on fans and fandoms, who critically engage in consuming the album through the concept of affective war machine, adapting the concept of Deleuze and Guattari, in addition to contextualizing music criticism itself and its importance for radio, TV, and the internet. In parallel to this, this work also highlights the culture of the North and Northeast of Brazil and its external perspective through the sound produced by the singer, something that is rooted in the history of the drag queen artist Pabllo Vittar and materializes in the songs of "Batidão Tropical". At the moment when Pabllo begins to represent the LGBTQIAPN+ community through brazilian rhythms such as brega, tecnobrega, and forró, which are predominantly found in the outskirts of these major and important regions of Brazil, we analyze how the critical reception of this album with these rhythms unfolded in Brazil and the United States, in the G1 and UOL portals, and in the American magazine PopMatters, finding that foreign criticism of Brazilian products is often carried out by Brazilian communication experts, attempting to translate our culture.