Bossa nova had its own dance, though it was short-lived

The success of several records, especially "Getz/Gilberto," led to a bossa nova craze in the United States, where it was perceived as an urbane, worldly status symbol. In response, marketers attached "bossa nova" to various products (including ice cream and sweaters) in an attempt to capitalize.

Conceived by artists like Antônio Carlos Jobim in 1950s Rio de Janeiro, the music was seen as a more restrained, slower samba, which was Brazil's popular national music at the time. In addition, bossa nova was popular in the more middle-class, cosmopolitan neighborhoods of Rio de Janeiro and was influenced by American jazz artists like Miles Davis, giving it a more urbane, intellectual air.

Kaleb Goldschmitt is a professor at Wellesley College who wrote the book "Bossa Mundo: Brazilian Music in Transnational Media Industries," which analyzed how and why bossa nova became so popular in the US in the early 1960s. According to Goldschmitt, much of it was due to the music's seemingly apolitical aesthetic, a notion that was reinforced by the Brazilian government.

The 1962 album by Stan Getz and Charlie Byrd was an unexpected hit, reaching the top of the Billboard album chart and receiving a Grammy nomination for album of the year. Its lead single, "Desafinado," won the Grammy for best jazz performance and is now considered one of the genre's classic tracks.

Bossa nova was still largely under the radar when João Gilberto, Luiz Bonfa, Sergio Mendes, and others performed at the storied Carnegie Hall in New York. Brazilian musician Gilberto Gil noted that the showcase's success was surprising to both the musicians and Brazilians, who began taking the music more seriously as a cultural export.

In 1968, Brazil's military dictatorship imposed tight restrictions on airplay and banned songs (and, subsequently, their artists) that failed to depict an idyllic life. That meant that, on the surface, popular bossa nova painted a rosy picture of life in Brazil. Musicologists note that artists like Antônio Carlos Jobim often juxtaposed those sunny lyrics with sad-sounding musical accompaniment, making for subtle protests that slipped by censors.

Eilish's 2021 song "Billie Bossa Nova" along with a handful of other younger artists, like Laufey and Beabadoobee, have inspired Gen Z's interest in the genre, with the music soundtracking tens of thousands of videos on TikTok.

In 1964, Brazil's president João Goulart was overthrown by a military coup supported by the US State Department. Scholars argue that the events led to the decline of bossa nova, with many Brazilians believing its pleasant sounds and picturesque lyrics were tone-deaf to the politically fraught moment.

The song, which translates to "No More Blues," was written by Antônio Carlos Jobim and initially recorded by Elizete Cardoso in 1958. Although it bore some similarities with samba, Brazil's most popular dance music at the time, it was slower and considerably more melancholy and would eventually be called "bossa nova," which roughly translates to "new sound" or "new wave."

The Mutual and Cultural Exchange Act of 1961, also known as the Fulbright–Hays Act, sought to spread understanding through education and cultural exchanges. Its passage led to a government-sponsored music tour of South America featuring jazz guitarist Charlie Byrd. In Brazil, Byrd was introduced to the music of João Gilberto and returned to the United States eager to incorporate bossa nova into his own music.

Tropicália was a short-lived Brazilian style of rock 'n' roll that blended samba, bossa nova, modernist poetry, and American rhythm and blues that offered provocative, anti-authoritarian, and avant-garde ideas through popular music, much to the delight of the country's evolving youth culture.

The 1959 film, directed by Marcel Camus, was soundtracked by bossa nova musicians Antônio Carlos Jobim and Luiz Bonfá. It was a big hit, winning the Palme d'Or at the 1959 Cannes Film Festival and the 1960 Academy Award for best foreign language film, helping spread the genre in Brazil and beyond.

The jazz trio, popular in the '20s and '30s, doesn't share much in common with the sounds of the well-known pop-oriented girl groups, but the sisters' prominence in a male-dominated industry provided an early example for later groups. Check out their appearance in the 1932 film "The Big Broadcast," performing the song "Crazy People."

The genre drew on elements of older Brazilian music, like samba and bossa nova, but it was also influenced by psychedelic rock, especially the Beatles' "Sgt. Pepper's Lonely Hearts Club Band," and was highly critical of the country's military dictatorship. That led to repercussions: Two of the movement's primary figures, Caetano Veloso and Gilberto Gil, were detained and exiled in 1968.

This primer from Far Out magazine offers a quick tour of the Brazilian genre through five of its most important albums, including "Getz/Gilberto," "Sergio Mendes Presents Lobo," and Roshina de Valenca's "Apresentando." Helpfully, there's plenty of critical commentary alongside the records, too, explaining how these landmark albums defined the genre.

Although jazz was once a popular art form, it has largely been confined to the margins of pop culture, with many of the genre's current bestselling albums from previous decades. Some critics argue that this is because the music betrayed its position as dance music and focused instead on musical proficiency.

The 1964 album, featuring the American saxophonist Stan Getz and the Brazilian guitarist João Gilberto, along with accompaniment from Antônio Carlos Jobim, was a massive hit and won the Grammy for album of the year in 1965. In time, it'd become one of the bestselling jazz albums of all time.

Antônio Carlos Jobim wrote songs and worked with the singer, whose quiet, melancholy crooning made him a star. The records he recorded between 1959 and 1961, combined with the success of Marcel Camus' film "Black Orpheus," helped bossa nova move from a Brazilian sound to an international fascination.

Hip-hop began in New York’s Bronx borough with the “back to school jam,” an August 1973 dance party hosted by Cindy Campbell and her brother, DJ Kool Herc, in their apartment building’s recreation room.

Throughout history, crowded, dimly lit, sweat-filled, and loud spaces that have hosted dance music have mirrored and shaped social change. Tracing the evolution of dance and club culture from the 1950s to today reveals changes in youth culture and desires over time. Read this article to learn more about how dance floors have reflected societal movements.

The original American girl group, the Boswell Sisters, toyed with jazz standards by experimenting with challenging renditions. The group became a popular radio act during the 1920s and 1930s, with few of their fans aware that group leader Connee Boswell used a wheelchair.

His job at Pickwick Records, a label that churned out budget records for department stores, was to crank out generic pop fare. One of those songs was 1964’s “The Ostrich,” a dance song in the style of Chubby Checker’s “The Twist” and Little Eva’s “The Loco-Motion.”

Songs aimed at TikTok's algorithm—designed for viral dances or soundtracking common experiences—often find success on the Billboard charts. An early example was Lil Nas X's "Old Town Road," which used his memes and a country-trap beat from the Netherlands to rise to the top of the Billboard charts.

The 1964 bossa nova classic won the Grammy for album of the year, a rare feat for a jazz record. According to jazz pianists Peter Martin and Adam Maness, that also makes it one of the last truly popular jazz albums. In this episode of their podcast "You'll Hear It," they break down the musicality of the songs in real time, offering technical insights into every quirk and nuance.

Ragtime was a popular music genre that blended African-American spirituals, European folk songs, and military marches. Blues, brought to New Orleans by free Black people seeking opportunities, allowed musicians to play within basic standards. Jazz combined both forms by merging the syncopated, dance-friendly sounds of ragtime with the soulful, brass-instrumental style of the blues.

For as long as country music has been set to record, its artists have experimented with the genre’s boundaries. Look no further than this track from 1946, Bob Wills’ “Roly Poly.” The song is a classic example of Western swing, a country subgenre that blended country and jazz.

New Orleans is a historic music town—with deep-rooted jazz, R&B, and blues traditions, to name a few—so it's no surprise that its annual Carnival has led to more than a few Mardi Gras-themed songs through the decades. One of the most famous is Professor Longhair's 1959 track "Go to the Mardi Gras," an upbeat shuffle that's still played at parades today.

The 1917 song by the Original Dixieland Jass Band was the first jazz recording to be issued and put the New Orleans sound on the national stage, along with inspiring several soundalikes.

The 1983 track “Beat Bop” features emcees Rammellzee and K-Rob rapping over a beat produced and arranged by Basquiat. Though it leans into several tropes from the early days of hip-hop, it’s also singular, with elements of dub, funk, and disco blending over its 10 minutes.

Singer and bandleader Cab Calloway was a major figure in the Harlem Renaissance's music scene. He was also one of the biggest names in jazz's swing era and would go on to be the first Black American to have a nationally syndicated radio show and the first to sell a million copies of a record. In this 1934 short film, "Cab Calloway's Hi-De-Ho," he reenacts his upbeat performances at Harlem's Cotton Club.

The dancer and choreographer created a uniquely American form of ballet that brought together stories from the country's history, abstract expressionism, modern psychological ideas, and collaborations with other major artists.

The New Orleans cornetist was a legend in the city, sometimes referred to as "king," for his electrifying performances, which captivated local dance halls by blending ragtime, blues, and gospel music. Unfortunately, recording technology was limited at the time, so there are no recordings of Bolden, though the song "Buddy Bolden's Blues" remains a standard to this day.

The style, which involves audience members thrashing their bodies into one another, evolved from “pogoing,” a style popular in England where listeners jumped up and down in place. The term “moshing,” sometimes called “slam dancing” in California, is believed to come from HR, the lead singer of Bad Brains.

As jazz entered the '70s, it was at a crossroads. While the genre's figureheads explored fusion and free jazz, which intentionally flouted mainstream convention, other artists began veering towards pop. Eventually, that sound would be called "smooth jazz."

The song was No. 1 on Billboard’s Best Selling Retail Records chart, the predecessor to the Hot 100. The chart only measured record copies sold, excluding other indicators of popularity, like sheet music sales or jukebox plays, that were used on other charts.

This 1982 single is one of the most recognizable beats in hip-hop history, thanks to some inspiration from popular disco and new wave records. The song’s bigger contribution, though, is that it pushed lyrics front and center, turning the rapper from a party-rocking master of ceremonies into a truth-telling MC.

In 1942, the publication introduced the Harlem Hit Parade chart, listing the top 10 records sold at select record stores in the majority-Black borough of New York. In 1945, it changed the chart’s name to Most Played Juke Box Race Records, using the music industry term (“race record”) that identified recordings by Black artists, even if they played music markedly similar to the white artists on the other charts.

Formed in the ashes of post-punk outfit Joy Division, the British group incorporated synthesizers and pulsating, disco beats for "Blue Monday," their early single that would come to define the 1980s sonic landscape.

The Brazilian show debuted in December 1951, kickstarting the genre in Latin America. Today, the form exists worldwide and is increasingly popular in Asia and the United States.

Doo-wop was a type of vocal-based pop music popular in the '50s that coincided with the rise of early rock 'n' roll. The mid-tempo, harmony-heavy songs about teenage life provided the template for the girl group sound, which arrived at the end of the decade.