introduCtion
In an article published in the Rio de Janeiro edition of O Globo in January
1998, the journalist Mário Marques identified a loosely collaborative group
of musicians based primarily in what is known as the South Zone of the
city who were making what he called música popular carioca, or mpc. The
designation riffed on the older marketing label música popular brasileira—
mpb—associated especially with major figures of urban Brazilian popular
song from the mid- 1960s through the 1970s. “Carioca” refers to some-
one or something from Rio de Janeiro and carries a host of established
connotations. In coining the term, Marques thus indicated a connection
with the mainstream history of urban popular song in Brazil while drawing
attention to the importance of the local setting in the new trends he was
describing. mpc musicians such as Pedro Luís, the group Farofa Carioca
(whose lead singer, Seu Jorge, would go on to international stardom as a
solo artist), and Celso Fonseca, Marques wrote, shared a desire to show
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