It’s uncomfortable for them because it paints the music scene with a broad brush, adding that “the Brazilian music that goes outside is very typical – it limits us in a box.” This music often falls under the bossa nova or Tropicália styles that had their heyday decades before Ana was born. Ana, who identifies as non-binary using they/them pronouns, complained that “it’s convenient to say that they discovered” an artist when presenting a Brazilian musician to a broader audience. Before I even started recording our conversation, which took place in the Copacabana neighborhood of Rio de Janeiro, Ana, the 25-year-old composer/guitarist/singer, shared their concerns about how international journalists present Brazilian music. My interview with Ana Frango Elétrico began with a challenge, in the form of a critique.
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