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Brazilian Youth Global Trends and Local Perspectives
1st Edition Claudia Pereira (Editor) Digital Instant
Download
Author(s): Claudia Pereira (editor)
ISBN(s): 9780367257644, 0367257645
Edition: 1
File Details: PDF, 7.84 MB
Year: 2019
Language: english
Brazilian Youth

The collection brings together texts of Brazilian researchers who are dedicated
to themes related to studies of youth cultures: social interactions, subcultures,
identities and belonging, pop culture, social movements, migration, consumption
and materialities, generational exchanges, media representations and digital media,
among others.
The objective is to promote a broad dialogue that includes fields of knowledge
such as communication and social sciences, as well as local perspectives that
represent the huge and rich diversity of the Brazilian regions. At the same time, the
book proposes to discuss the reflexivity of such local youth cultures in the face of
a global context that challenges, with ruptures and permanencies, the very idea of
youth. The book seeks to fill the gap of a selection of scientific texts by Brazilian
authors, about Brazilian youth cultures, aimed at foreign researchers.

Cláudia Pereira has a PhD (2008) in anthropology from the Graduate Program
in Sociology and Anthropology of the Institute of Philosophy and Social Sciences
at the Federal University of Rio de Janeiro (PPGSA – IFCS/UFRJ). She is a
lecturer and researcher at Pontifical Catholic University of Rio de Janeiro.
She concentrates her research on social representations of youth in the media,
especially in advertising, subcultures and material culture. In 2018, she has been
accepted as Visiting Researcher at ICS – Institute of Social Sciences at University
of Lisbon, Portugal.
Youth, Young Adulthood and Society
Tracy Shildrick, Newcastle University, UK
John Goodwin, University of Leicester, UK
Henrietta O’Connor, University of Leicester, UK

The Youth, Young Adulthood and Society series approaches youth as a distinct area,
bringing together social scientists from many disciplines to present cutting-edge
research monographs and collections on young people in societies around the world
today. The books present original, exciting research, with strongly theoretically- and
empirically-grounded analysis, advancing the field of youth studies. Originally set
up and edited by Andy Furlong, the series presents interdisciplinary and truly inter-
national, comparative research monographs.

Youth, Risk, Routine

A New Perspective on Risk-Taking in Young Lives
Tea Torbenfeldt Bengtsson and Signe Ravn

Rethinking Young People’s Marginalisation

Beyond Neo-Liberal Futures?
Perri Campbell, Lyn Harrison, Chris Hickey and Peter Kelly

Youth in the Digital Age

Paradox, Promise, Predicament
Edited by Kate C.Tilleczek and Valerie M. Campbell

Modernization as Lived Experiences

Three Generations of Young Men and Women in China
Fengshu Liu

Italian Youth in International Context

Belonging, Constraints and Opportunities
Edited by Valentina Cuzzocrea, Barbara G Bello,Yuri Kazepov

Brazilian Youth
Global Trends and Local Perspectives
Edited by Cláudia Pereira

For more information about this series, please visit www.routledge.com/Youth-

Young-Adulthood-and-Society/book-series/YYAS
Brazilian Youth

Global Trends and Local Perspectives

Edited by Cláudia Pereira

First published 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 selection and editorial matter, Cláudia Pereira; individual
chapters, the contributors
The right of Cláudia Pereira to be identified as the author of the
editorial material, and of the authors for their individual chapters,
has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted
or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Trademark notice : Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested

ISBN: 978-0-367-25764-4 (hbk)

ISBN: 978-0-429-28008-5 (ebk)

Typeset in Times New Roman

by Apex CoVantage, LLC
I dedicate this book to João Pereira, my beloved father, who
used to be so proud of me. And to Sônia, my dear mother,
with whom I walk side by side in this short journey that is
life.
Contents

List of figures ix
List of contributors x
Preface xiii
RUTH ADAMS

Acknowledgments xviii

Introduction: visiting Brazilian youth paradoxes 1

C L Á U D I A P E R E I RA

PART I
Brazilian youth, public space and activism 7

1 Youth, culture and politics: societal changes and new conceptual

challenges 9
R E G I N A N O VA ES

2 Formative practices of student collectives in a public university 24

L U Í S A N TO N I O GROP P O

3 Ways of living and engaging in the city of São Paulo: local and
global in the narratives and youth practices of the “School
of Activism” 37
R O S E D E M E L O ROCHA AND DANI L O P OS T I NGU EL
viii Contents

PART II
The “other” youth and the city 55

4 Between cultural mediation and urban fences: a study on

a group of “it-girls” from Rio 57
C R I S T I N A B RAVO AND JUL I ANA MÜL L E R

5 Youth media practices in rurban contexts: aspects of

“Brasil Profundo” 69
N I L D A J A C K S , MARI ÂNGE L A TOAL DO AND JA N E A . MA R Q U ES

6 Rebuilding lives: itinerancies, life projects and field of

possibilities of migrant youth in Brazil 97
J O Ã O G U I L H E RME XAVI E R DA S I LVA AND F E R N A N D A MA RTIN ELLI

PART III
(In)visibility strategies in youth cultures 107

7 Affirmation and visibility between prejudices and stigmas of

the young from favelas in Brazil: let’s talk about
the “passinho dance” 109
ALINE MAIA

8 “I want to have 1 million friends”: youth social interactions

and visibility strategies on YouTube 128
R E N ATA TO MAZ

9 “Children of the dark in a tropical country”: media archeology

of Brazilian goth subculture and its transformation 141
A D R I A N A A MARAL

10 Fans who camp in concerts of pop artists: notes on performance

and coloniality of Brazilian youth 156
T H I A G O S O ARE S

Index 168
Figures

3.1 Guiding principles for the “School of Activism” 42

3.2 Keyword “activism” 45
3.3 Keyword “politics” 46
3.4 Keyword “city” 47
3.5 Keyword “youth” 48
5.1 Location of cities sampled 73
5.2 Professional, student, cultural and media practices 76
5.3 Thematic axes and their symbolic connections 79
5.4 Devices, media and networks – uses in socialization contexts 80
7.1 Landscapes of Rio challenging engineering 111
Contributors

Ruth Adams is Senior Lecturer in Cultural and Creative Industries at King’s

College London. Her research interests include youth subcultures and popular
music; postcolonial identities and culture; class, gender, and cultural represen-
tation and consumption; critical interrogations of the discourse of ‘heritage’;
and popular representations of Englishness.
Adriana Amaral is a professor in the communications postgraduate program at
the Universidade do Vale do Rio dos Sinos (Brazil). She has a PhD in social
communication from Pontificia Universidade Catolica do Rio Grande do Sul
(Brazil). Recently, she was a visiting professor at Universität Duisburg-Essen
in Germany (2016).
Cristina Bravo is a professor at the Department of Social Communications of
PUC-Rio. She has a master’s degree in social communications from PUC-Rio,
and a MBA in Marketing from the COPPEAD Institute of Administration of
the Federal University of Rio de Janeiro (UFRJ).
Luís Antonio Groppo holds a PhD in social sciences from Unicamp (State
University of Campinas). He is currently a professor at Unifal-MG (Federal Uni-
versity of Alfenas). His research interests include youth, education and social
movements.
Nilda Jacks holds a PhD in communications (1993) from Universidade de São
Paulo. She is Full Professor at UFRGS (RS-Brazil) and has experience in
communications, focusing on the theory of communications, acting on the
following subjects: reception theory, communications and cultural identity,
methodology and reception analysis.
Aline Maia holds a PhD in communications from the Pontifical Catholic Uni-
versity of Rio de Janeiro (PUC-Rio). She is a lecturer in communications
at University Estácio Juiz de Fora, where she also leads a research agenda
on communications, social and media representations, media visibility and
youth.
 Contributors xi

Jane A. Marques is Associate Professor at the School of Arts, Sciences and

Humanities of the University of São Paulo as well as the Inter-Graduate Pro-
gram in Aesthetics and History of Art and the Professional Master’s in Entre-
preneurship, both from the University of São Paulo.
Fernanda Martinelli holds a PhD in communications and culture, School of
Communications, Federal University of Rio de Janeiro (ECO/UFRJ). She is
Professor of Communications in the Faculty of Communications, University
of Brasília (FAC/UnB).
Rose de Melo Rocha holds a PhD in communication sciences (USP), with a post-
doctoral degree in anthropology (PUCSP). She is Full Professor of the Post-
graduate Program in Communications and Consumption Practices, ESPM, São
Paulo, Brasil. Her research interests include youth cultures, communications,
image, politics and consumption.
Juliana Müller is a doctoral student and has a master’s in communications stud-
ies from the Pontifical Catholic University of Rio de Janeiro (PUC-Rio) in
Brazil. Her academic research projects are related to youth cultures, adoles-
cence, media representation, athletes.
Regina Novaes holds a PhD in humanities (social anthropology) from the University
of São Paulo (1989). She is Professor of the Graduate Program in Sociology and
Anthropology of the Federal University of Rio de Janeiro (IFCS) and has directed
research on social movements, youth, religion, culture, citizenship and violence.
Danilo Postinguel is a doctoral student and holds a master’s degree from the
postgraduate program in communications and consumption practices, Superior
School of Advertising and Marketing (ESPM), São Paulo, Brazil. Researcher
of the CNPq Group JUVENÁLIA–Youth cultures: communications, image,
politics and consumption.
Thiago Soares is Professor and Researcher in the Communications Postgraduate
Program at Universidade Federal de Pernambuco (Recife), Brazil. He investi-
gates the connections between performance and pop culture in Latin America,
focusing on music in Brazilian peripheries, consumption of US pop divas in
peripherical contexts, cultural citizenship and fan culture.
Mariângela M. Toaldo holds a PhD in social communications from the Pontifical
Catholic University of Rio Grande do Sul (2002). She is adjunct professor of
the Faculty of Social Communication of UFRGS (FABICO), and she develops
research in the areas of advertising, ethics, history of advertising and young
people.
Renata Tomaz is a postdoctoral scholar of Faperj at the School of Communica-
tions of the Federal University of Rio de Janeiro, where she completed her PhD
and master’s degree in communications and culture. Her research interests
xii Contributors

include childhood, youth, contemporary subjectivities, urban cultures, mother-

hood and social media.
João Guilherme Xavier da Silva holds a PhD in law, state and constitution, Uni-
versity of Brasília School of Law (UnB). He is Professor of Law and Public
Policy at the National School of Public Administration (ENAP) and Public
Policy and Government Officer for the Brazilian federal government.
Preface
Ruth Adams

As I was writing this preface, Jair Bolsonaro, the recently elected, authoritarian
president of Brazil, announced his intention to cut the funding of philosophy and
sociology programmes at public universities. That this came on the same day
as an assertion that the country must not become a “gay tourism paradise” and
the censorship of a bank advert featuring positive representations of black and
trans people, gives a flavor of the threat that Bolsonaro’s administration poses
to critical thinking and alternative lifestyles and identities in Brazil. His policies
and pronouncements explicitly challenge the status and the safety of numerous
minority and marginalized communities: the poor, women, and black, indigenous,
and LGBTQ+ communities. Consequently, this indicates too what a timely and
important book this is. It is timely and important not just because it offers a cor-
rective to the growing constraints being placed on Brazil’s intellectual and cultural
life and celebrates diverse forms of creative action and resistance but also because
it provides a snapshot of Brazilian youth culture before Bolsonaro; a period that,
while very recent, is now also historical.
This is not to imply that Brazil before Bolsonaro was without its problems. In
many ways he can be regarded as a symptom rather than cause, a symptom of a
rapidly escalating political and economic crisis marking the end of a period of
apparent growth and stability when the country felt ready to open itself up to a
global audience, hosting the Football World Cup Finals in 2014 and the Olympic
Games in 2016. I say apparent, because as the crisis deepened it became increas-
ingly evident that long-entrenched divisions and inequalities along the lines of
class, ethnicity, region, religion, gender and sexuality had been ameliorated but
not expiated and continued to fester not far beneath the surface.
But this negative narrative in no way tells the full story of Brazilian society
and culture or of the country’s immense and exceptionally diverse population.
Brazil, as the editor of this volume notes, is a nation of superlatives, of paradox
and of dichotomies. A huge country, rich in natural resources and beauty, it boasts
a cultural and intellectual vibrancy proportionate to its size, both because of and
despite its complex and not always happy history. Throughout the world Brazil
has a reputation for excitement and a particular type of Latin, hedonistic fun, of
futebol, Carnaval, Carmen Miranda, caipirinhas and Capoeira. Rio de Janeiro, in
xiv Preface

particular, continues to enjoy a reputation in the West as an exotic and glamorous

tourist destination. But again, these more positive stereotypes are only part of the
story of a country that is complex, contradictory and often full of surprises.
The collection of chapters in this book make a contribution to painting a picture
of Brazil that goes deeper than the persistent national stereotypes and decontextu-
alized snapshots that foreigners see on the news. It tells stories of the cultural and
political lives lived by young Brazilians in a variety of different spaces and places.
It shines a light on some unfamiliar (to Western readers) activities and ontolo-
gies, locating these within a global context whilst emphasizing the importance
of understanding the specifics of local circumstances. The book brings together
a collection of innovative and fascinating scholarship in one place, allowing the
reader to find patterns and connections between chapters in addition to the insights
offered by each individual chapter.
The book also functions as a useful addition and corrective to the Western canon
of youth and subculture studies which is dominated by Anglophone authors and
their perspectives (as is global scholarship more generally). As Cláudia Pereira,
the editor of this collection, notes, it can be difficult for Brazilian and lusophone
academics to find an international readership for their research, and this volume
makes a small but significant contribution to amending this imbalance. This is of
advantage not just to the authors but to anyone with an interest in youth culture
and a desire to gain a wider, cross-cultural perspective on the topic. In an increas-
ingly globalised world, it is no longer sufficient – if it ever were – to look at
cultural expressions in isolation, without acknowledging the broader contexts and
networks within which they develop. A number of chapters in this book examine
the ways that global cultural and media phenomena, such as YouTube, Beyoncé
and the goth subculture, have been adopted and adapted to meet and reflect the
specific social and cultural needs and wants of Brazilian youth. However, Cláudia
Pereira poses the question, “Can we also believe that Brazilian youth cultures,
those that constitute artistic expressions, for example, modify the global youth
cultures?” I think we can, and would offer the growing popularity (in both audi-
ence size and distribution) of funk music. Funk music, usually described as Baile
or Carioca funk in Western contexts to distinguish it from the North American
variant, has become the dominant form of popular music in Brazil. A bass-heavy
party music, often with rap-style vocals, that emerged from Rio’s favelas, it has
enjoyed a cult following in Europe and North America in the twenty-first cen-
tury, influencing hit records by the likes of Diplo and M.I.A. However, prompted
in part by the international exposure afforded by the Olympics and the rise of
streaming services, it has started to reach a bigger global audience. In December
2017, funk megastar Anitta’s song “Vai Malandra” became the first Portuguese-
language release to find a place on Spotify’s Global Top 50 Chart.
Brazil and its youth culture(s) are distinctive and unique, but they also share
some common characteristics with other countries and cultures, which further
increases this book’s interest for an international readership. As James Joyce
observed, “In the particular is contained the universal”, or as the editor of this
 Preface xv

volume asserts, “the different situations of young Brazilians can illustrate, as case
studies, issues that concern young people around the world. After all, they are
young people who are living with inequalities, violence, insecurities and vul-
nerabilities, but also with a lot of creativity to survive all of this”. Specifically,
readers from nations with colonial histories which are now grappling with the
ramifications of those pasts in a multicultural present may find the opportunity
to make comparisons between Brazil and their home nations both fruitful and
enlightening.
This certainly reflects my own experiences. I owe my first encounters with Bra-
zilian youth and youth culture to Cláudia Pereira when, in spring 2015, she invited
me to PUC-Rio to give a number of guest lectures on the creative industries sec-
tor and youth culture in the UK. Lively conversations with her students and col-
leagues indicated shared themes and concerns and encouraged me to explore these
further in collaborative conferences and publications and my teaching in London
and Rio. A London music scene like Grime, a predominantly black, working-class
genre which combines the polyglot sounds of a world city and the global reach of
social media with an intense localism, can speak to Brazilian youth, as the Carioca
funk and Passinho dance scenes of Rio can speak to young people in the UK, with
both their similarities and differences cause for fascination. In both places, the
popular success of these styles and the voice they offer to marginalised groups
have facilitated a growing sense of self-worth and community in socio-economic
contexts which actively militate against this. As Aline Maia observes: “passinho
reveals common aspects of individuals from favelas, everyday situations and the
relationship with the territory that in response to a stigma of place, it has been
re-signified in the pride of the statement ‘I am favelado’”. As such, these cultures
can be thought of as a form of revolutionary social action as well as creative
production.
The popular success of “ghetto” cultures such as passinho has facilitated a
degree of social mobility, producing a fraction of young, working class people,
suggests Cláudia Pereira, “who go through social inequalities, leaving daily from
poor and peripheral neighbourhoods, crossing social barriers erected in the form
of malls and luxury nightclubs, becoming mediators, taking and bringing culture
from one side to the other”. Reading this reminded me of a memorable evening
spent at the Caixa Cultural Centre in Rio, enjoying history and dance lessons from
Cebolinha, a famed exponent of passinho. Confident and articulate as this young
man was, the class and ethnic differences between him and the majority of his
audience at a predominantly white and middle-class downtown arts venue was
marked. It pointed to the limitations of such social mobility; he was a tourist in
his own city, as was his audience, arguably entranced by an exhibition of domestic
exoticism as well as physical and artistic skill. The mainstream might attempt to
repress and diminish such autonomous creative flowerings, but equally they may
seek to exploit their (sub)cultural capital, or as Cláudia Pereira suggests, they
may be “coveted and well paid by companies, who take to themselves the image
of an ‘other’ that comes to their lucrative interests”. A notable example was the
xvi Preface

Passinho Dream Team that was assembled and sponsored by Coca-Cola as part of
their marketing drive connected to the 2014 Football World Cup Finals. An audi-
ence member at the Caixa event expressed the opinion that this was an example
of passinho “selling out”, only to be informed by Cebolinha that one of the group
was his sibling, and that his community were for the most part thrilled that the
dance style was becoming accepted and offering careers and a means of escape for
a chosen few. There is, however, a thin and constantly moving line between cul-
tural legitimacy and cultural appropriation and exploitation, between autonomy
and hegemony. Again, we can see that these case studies from Brazil offer unique,
culturally specific insights but also speak to broader phenomena in youth cul-
tures and Youth Culture Studies. How to maintain an “authenticity” of style and
purpose that satisfies both the originating community and external interests (and
particularly in instances when that “authenticity” might be equated with poverty
and/or criminality) and fulfil the emancipatory potential of finding a wider audi-
ence for marginal cultures, identities, actions and positions when capitalism is the
only available vehicle is perhaps the most knotty and universal dilemma of youth
cultures across space and time.
Despite the darkening political clouds in Brazil and elsewhere, we, like the
authors of this book, can find hope in the attitudes, actions and bravery of young
people in taking a stand against inequality, violence and corruption. At PUC-Rio
the students renamed one of the university’s administrative buildings after Mari-
elle Franco, the black, bisexual, feminist political activist who made the transition
from favela to serving as a member of the Municipal Chamber of Rio de Janeiro.
Franco was assassinated in March 2018, aged only 38. The students’ gesture can be
understood as part of the wider grassroots movement of “Marielle Presente” (Mari-
elle is here), which seeks not just to honour her memory but to ensure her image
and values are not erased from public life or public spaces (including Carnaval),
despite the best efforts of the authorities. During the period of the election which
saw Bolsonaro victorious, students and universities across Brazil risked censure
and worse by publicly demonstrating their opposition to fascism. Campuses were
raided by federal and military police to remove the evidence of this political oppo-
sition and to disrupt classes regarded as encouraging dissent. When the “adults” in
power are deemed to be inept or downright dangerous, it is often the youth that step
up to be counted and attempt to take charge, now armed with the “digital native’s”
understanding of social media and technology, of public discourse and political
process, an action that provokes suspicion and hostility amongst established elites.
Witness, for example, the attempts to discredit Greta Thunberg, the 16-year-old
Swedish climate change activist who has managed to mobilise support and politi-
cal action from school children and adults alike and gain the ear of politicians and
opinion formers across the world. As Cláudia Pereira observes: “Since the ‘adults’
are now confronted to a new political player, the ‘Other’ that comes to arise, they
ask themselves, ‘who are these adolescents and youngsters that put in doubt our
system? Where do they come from? What are the forces that support them?’” That
this would seem to be a widespread phenomenon further supports the case that
 Preface xvii

research that focusses on the specifics of the lives and activities of Brazilian youths
can have a wider resonance and relevance across cultures and continents and indi-
cates the topicality and significance of this book and the stories it tells. But these
accounts and analyses of Brazilian youth can claim their own inherent value and
interest; they are windows into lives rarely known or accessible to overseas readers
and, as such, can enrich our understanding of the world around us.
Acknowledgments

This collection could not be carried out without the cooperation of many people,
some of whom I may, from pure and unjust oblivion, fail to mention here. I there-
fore address my first thanks to all those who, directly or indirectly, take care of
my affective health, encourage my projects, inspire my days, support practical
things, finance my ideas and gently accept to be observed, interviewed, analyzed.
I thank Routledge for having agreed to publish this work, especially Emily
Briggs and Elena Chiu, who closely followed the entire construction process of
the present book.
I thank the 16 authors who signed the preface and chapters of this collection
and who, together with me and thousands of other Brazilian researchers, are fight-
ing for the Social and Human Sciences in our country.
Thank you to Capes – Coordenação de Aperfeiçoamento de Pessoal de Nível
Superior – for all the funding that, in one way or another, make this book viable.
I thank all of my students for inspiring daily exchanges.
Introduction
Visiting Brazilian youth paradoxes
Cláudia Pereira

Brazil is a place of continental dimensions, with a territory of more than 8 million

square kilometers – so huge that there are only four other countries that are larger.
Its lands are divided into five major regions (North, Northeast, Midwest, South-
east and South), through which 26 states are distributed (plus the Federal District
of Brasília, the capital of the country) and 5,570 cities. In Brazil, everything is
superlative: we have the largest forest in the world (the Amazon rainforest) and the
tenth most populous city in the world (São Paulo), as well as the Samba Schools
Parade in Rio de Janeiro, the biggest popular party in the world. We are also
among the ten countries with the greatest social inequality on the planet.
We are one of the greatest in the world in many respects, both positive and
negative, and consequently we have brought together many worlds in one place.
We are more than 200 million Brazilians, including 50 million (almost an entire
England) ones who are young people from 15 to 29 years old. So we already
have a problem with the title of this collection: can we talk about “Brazilian
Youth”? Can we talk about, in fact, a single youth, despite all the social, political
and economic crises that affect him or her?
The challenge of the social sciences in the sense of investigating youth in all its
plurality has long been accepted, and, we may say, surpassed. The “youth culture”
that Edgar Morin (2006) analyzed in the emergence of mass culture in the ’60s
and ’70s no longer exists in its original form. The world is now fragmented and
unfolded in other universes, such as the internet, and with them, we have seen the
suppression of distances and the extension of some generational categories – after
all, what is it to be “old” or “young” today? Youth, as an object of study, becomes
more complex and invites us to abandon the doxa and visit the paradox. Brazil,
for all its characteristics, is given to paradoxes. And to understand them through
their youth cultures is what motivates this collection.
For José Machado Pais (1993), the idea of “youth culture” is directly related
to “leisure culture”, in a sense that it is a way of saying, “Hey, we are distant and
different from you and your values, stupid adult”. For British cultural studies,
Youth Culture (with capital letters Y and C) is a specific social phenomenon in
postwar England when youth subcultures emerged – of mods and rockers at first
and then punks and skinheads (Clarke et al., 2003), – directly related to the idea of
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 WAGNER’S KAISER MARCH.

TO THEODORE THOMAS.

W HAT diapasons from the hush profound

Thy magic wand, O Master, summons forth
To laud imperial Kaiser, robed and crowned!
Hail! multitudinous music of the North!
Titanic Wagner’s soul informs the sound!
Ho! instruments triumphant, trump and drum,
And cymbal clanging where the troopers come!
The Gothic valor now is set to score;
I hear the tramp of Saxon thought unbound,
The victor’s cry, disdaining death or wound,—
I hear the saber ring, the cannon roar!
This is the throbbing tune for Halfred’s rhyme,
The symphony of glorious war sublime,
Valhalla’s martial joy forevermore!
DEFOE IN THE PILLORY.
O N to the Pillory, ho!
To punish bold Daniel Defoe!
Come on to the place
Of shame and disgrace!
Bring rose-garlands sweet
To cast at his feet!
Fill glasses! Fill, ho!
Here’s to Daniel Defoe!

On to the Pillory, ho!

To punish bold Daniel Defoe!
His fate he has earned,
His book we have burned,
That its soul may fly forth,
East, west, south and north!
Blow, trumpeter, blow!
Here’s to Daniel Defoe!

On to the Pillory, ho!

To punish bold Daniel Defoe!
Shout him greeting full loud!
Sing his praise to the crowd!
The sentries may swear,
But what do we care?
More roses we’ll throw!
Here’s to Daniel Defoe!

On to the Pillory, ho!

To punish rogue Daniel Defoe!
Pelt him, maidens and men!
For he thinks with a pen,
And his thought is too free!
God bless him! See! See!
Fill glasses! Fill, ho!
Here’s to Daniel Defoe!
WE THE PEOPLE.
W E the People, not the Crown,
Not the surplice nor the brand,
Noble’s crest nor schoolman’s gown,
Burse nor rostrum, grange nor town,—
We the People rule our land.

We the People, not the Few,

High nor low nor middle class,
High and low and middle too,
Freemen, he and I and you,
We the multitude, the mass.

Dumb we plodded feudal years,

Goaded by the lash of scorn;
Groaning, wept a sea of tears;
Lo! at last our day appears,
Dawn of the millennial morn!

Asia deemed our woe decreed,

Brahm nor Buddha heard our cry,
Europe heard with sullen heed,
Prince and Pontiff mocked our need,
Making Christ a bitter lie.

Demagogue nor Demigod

Shall again control the World;
Man awoke! disdained the rod,
Spurned the despot whip and prod,
To the dust his rider hurled.

Man has come unto his own;

Broken are his bands and bars;
Faith’s futurity foreknown
Domes a sky of promise sown
Domes a sky of promise sown
Thick with happy-omened stars.

Zealous, not iconoclast,

We would spare the ancient true;
Life in death is rooted fast;
And the fruitage of the Past
Is the Passing,—is the New.

Azure blood and haughty crest,

Blazon of heraldic scroll,
Coin in coffer, star on breast,—
These are good, but better, best,
Is the rank, the wealth, of soul.

Earth grows better growing old,

Still by happier races trod;
Plato’s iron men are gold;
Large humanities unfold;
Evolution’s law is—God.

We the People, We the State,

Subject, Sovereign, both in one,
Trust in Highest Potentate.
Trust, O World, in Us and wait.
God has willed our will be done.
 EIGHTY-SEVEN.

A S a mighty heart in a giant’s breast

With rhythmic beat
Sends marching from brain to feet
The crimson vigor of creative blood,
So, in the bosom of the brawny West,
So, in the stalwart breast of the Nation,
Throbs the Great Ordinance,—a heart,
A vital and organic part,
Propelling by its strong pulsation
The unremitting stream and flood
Of wholesome influences that give
Unto the body politic
The elements and virtues quick
Whereby Republics live.
 THE FOUNDERS OF OHIO.

APRIL, 1888.

T HE footsteps of a hundred years

Have echoed, since o’er Braddock’s Road
Bold Putnam and the Pioneers
Led History the way they strode.

On wild Monongahela stream

They launched the Mayflower of the West,
A perfect State their civic dream,
A new New World their pilgrim quest.

When April robed the Buckeye trees

Muskingum’s bosky shore they trod;
They pitched their tents and to the breeze
Flung freedom’s star-flag, thanking God.

As glides the Oyo’s solemn flood

So fleeted their eventful years;
Resurgent in their children’s blood,
They still live on—the Pioneers.

Their fame shrinks not to names and dates

On votive stone, the prey of time;—
Behold where monumental States
Immortalize their lives sublime!
 FOREST SONG.
Read at the first meeting of the American Forestry Congress, in Music Hall,
Cincinnati, April 19, 1882.
A SONG for the beautiful trees!
A song for the forest grand,
The Garden of God’s own hand,
The pride of His centuries.
Hurrah! for the kingly oak,
For the maple, the sylvan queen,
For the lords of the emerald cloak,
For the ladies in golden green.

For the beautiful trees a song!

The peers of a glorious realm,
The linden, the ash, and the elm,
The poplar stately and strong,—
For the birch and the hemlock trim,
For the hickory staunch at core,
For the locust thorny and grim,
For the silvery sycamore.

A song for the palm,—the pine,

And for every tree that grows,
From the desolate zone of snows
To the zone of the burning line;
Hurrah! for the warders proud
Of the mountainside and the vale,
That challenge the thunder-cloud,
And buffet the stormy gale.

A song for the forest, aisled,

With its Gothic roof sublime,
The solemn temple of Time,
Where man becometh a child,
As he listens the anthem-roll
Of the voiceful winds that call,
In the solitude of his soul,
On the name of the All-in-All.

So long as the rivers flow,

So long as the mountains rise,
May the foliage drink of the skies
And shelter the flowers below;
Hurrah! for the beautiful trees!
Hurrah! for the forest grand,
The pride of His centuries,
The Garden of God’s own hand.
A BALLAD OF OLD KENTUCKY.
W ELL, this is my story of Schoolmaster John,
And how, single-handed, he slew
A terrible monster, one May day, at dawn,
When our staunch old Kentucky was new.

Full rude was the cabin, o’ershadowed by trees,

For the Lexington school-children made;
For, Cadmus forbid that the shrewd A-B-C’s
Be lost in the tanglewood shade!

Alone sat the pedagogue, throned on a stool,

Entranced by poetical lore;
He waited and read, while the morning’s breath cool
Floated in through the wide-open door.

Bent over a magical page of the tome

That Vergil—how long ago!—wrote,
He mused of Æneas and Dido and Rome,
When a tiger-cat sprang at his throat!

Fight, fight! John McKinney, or perish! He fought!

Forgot was the Queen and her woe!
He uttered no cry; of the children he thought
As he grappled his terrible foe!

Now which shall be victor, the brute or the man?

Hands battle against teeth and claws!
Survive the dread struggle the nature that can!
Savage might against letters and laws!

The beast by the master was throttled and crushed

On his desk, while its fangs stung his side;
With the crimsoning rill from his pulses that gushed,
The leaves of his Vergil were dyed.
 g y

Who fly to the rescue? Who scream with alarm?

Three scared little maidens! Then said
The schoolmaster, smiling, “No harm, dears, no harm!
I have caught you a wild-cat;—it’s dead.”

And this is the story of pedagogue John

Of Kentucky, and how it befell
That, in the heroic old days that are gone,
He did what he had to do, well.

God set him his task in the woods of the West

To teach and to tame what was wild;
To give his heart’s love and the blood of his breast
For the good of the pioneer’s child.

No story of Theseus or Hercules strong

More beautiful is, nor so true;
The meed of devotion to duty is song:
Then pay John McKinney his due.
 JOHN FILSON.
Matthias Denman, Robert Patterson and John Filson laid out the town of
Losantiville, now the city of Cincinnati, in 1788. Filson, schoolmaster and
surveyor, went out to explore the woods between the Miamis, but never
returned.
J OHN Filson was a pedagogue—
A pioneer was he;
I know not what his nation was
Nor what his pedigree.

Tradition’s scanty records tell

But little of the man,
Save that he to the frontier came
In immigration’s van.

Perhaps with phantoms of reform

His busy fancy teemed,
Perhaps of new Utopias
Hesperian he dreamed.

John Filson and companions bold

A frontier village planned,
In forest wild, on sloping hills,
By fair Ohio’s strand.

John Filson from three languages

With pedant skill did frame
The novel word Losantiville
To be the new town’s name.

Said Filson: “Comrades, hear my words:

Ere three-score years have flown
Our town will be a city vast.”
Loud laughed Bob Patterson.

Still John exclaimed, with prophet-tongue,

“A city fair and proud,
The Queen of Cities in the West!”
Mat Denman laughed aloud.
 g

Deep in the wild and solemn woods

Unknown to white man’s track,
John Filson went, one autumn day,
But nevermore came back.

He struggled through the solitude

The inland to explore,
And with romantic pleasure traced
Miami’s winding shore.

Across his path the startled deer

Bounds to its shelter green;
He enters every lonely vale
And cavernous ravine.

Too soon the murky twilight comes,

The boding night-winds moan;
Bewildered wanders Filson, lost,
Exhausted, and alone.

By lurking foes his steps are dogged,

A yell his ear appalls!
A ghastly corpse, upon the ground,
A murdered man, he falls.

The Indian, with instinctive hate,

In him a herald saw
Of coming hosts of pioneers,
The friends of light and law;

In him beheld the champion

Of industries and arts,
The founder of encroaching roads
And great commercial marts;
 And great commercial marts;

The spoiler of the hunting-ground,

The plower of the sod,
The builder of the Christian school
And of the house of God.

And so the vengeful tomahawk

John Filson’s blood did spill,—
The spirit of the pedagogue
No tomahawk could kill.

John Filson had no sepulcher,

Except the wildwood dim;
The mournful voices of the air
Made requiem for him.

The druid trees their waving arms

Uplifted o’er his head;
The moon a pallid veil of light
Upon his visage spread.

The rain and sun of many years

Have worn his bones away,
And what he vaguely prophesied
We realize today.

Losantiville, the prophet’s word,

The poet’s hope fulfils,—
She sits a stately Queen to-day
Amid her royal hills!

Then come, ye pedagogues, and join

To sing a grateful lay
For him, the martyr pioneer,
Who led for you the way
 Who led for you the way.

And may my simple ballad be

A monument to save
His name from blank oblivion,
Who never had a grave.
JOHNNY APPLESEED.

A Ballad of the Old Northwest.

A MIDNIGHT cry appalls the gloom,
The puncheon door is shaken:
“Awake! arouse! and flee the doom!
Man, woman, child, awaken!

“Your sky shall glow with fiery beams

Before the morn breaks ruddy!
The scalpknife in the moonlight gleams,
Athirst for vengeance bloody!”

Alarumed by the dreadful word

Some warning tongue thus utters,
The settler’s wife, like mother bird,
About her young ones flutters.

Her first-born, rustling from a soft

Leaf-couch, the roof close under,
Glides down the ladder from the loft,
With eyes of dreamy wonder.

The pioneer flings open wide

The cabin door, naught fearing;
The grim woods drowse on every side,
Around the lonely clearing.

“Come in! come in! nor like an owl

Thus hoot your doleful humors;
What fiend possesses you, to howl
Such crazy, coward rumors?”

The herald strode into the room;

That moment, through the ashes,
The back-log struggled into bloom
Of gold and crimson flashes.
 g

The glimmer lighted up a face,

And o’er a figure dartled,
So eerie, of so solemn grace,
The bluff backwoodsman startled.

The brow was gathered to a frown,

The eyes were strangely glowing,
And, like a snow-fall drifting down,
The stormy beard went flowing.

The tattered cloak that round him clung

Had warred with foulest weather;
Across his shoulders broad were flung
Brown saddlebags of leather.

One pouch with hoarded seed was packed,

From Pennland cider-presses;
The other garnered book and tract
Within its creased recesses.

A glance disdainful and austere,

Contemptuous of danger,
Cast he upon the pioneer,
Then spake the uncouth stranger:

“Heed what the Lord’s anointed saith;

Hear one who would deliver
Your bodies and your souls from death;
List ye to John the Giver.

“Thou trustful boy, in spirit wise

Beyond thy father’s measure,
Because of thy believing eyes
I share with thee my treasure
 I share with thee my treasure.

“Of precious seed this handful take;

Take next this Bible Holy:
In good soil sow both gifts, for sake
Of Him, the meek and lowly.

“Farewell! I go!—the forest calls

My life to ceaseless labors;
Wherever danger’s shadow falls
I fly to save my neighbors.

“I save; I neither curse nor slay;

I am a voice that crieth
In night and wilderness. Away!
Whoever doubteth, dieth!”

The prophet vanished in the night,

Like some fleet ghost belated;
Then, awe-struck, fled with panic fright
The household, evil-fated.

They hurried on with stumbling feet,

Foreboding ambuscado;
Bewildered hope told of retreat
In frontier palisado.

But ere a mile of tangled maze

Their bleeding hands had broken,
Their home-roof set the dark ablaze,
Fulfilling doom forespoken.

The savage death-whoop rent the air!

A howl of rage infernal!
The fugitives were in Thy care,
Almighty Power eternal!
 Almighty Power eternal!

Unscathed by tomahawk or knife,

In bosky dingle nested,
The hunted pioneer, with wife
And babes, hid unmolested.

The lad, when age his locks of gold

Had changed to silver glory,
Told grandchildren, as I have told,
This western wildwood story.

Told how the fertile seeds had grown

To famous trees, and thriven;
And oft the Sacred Book was shown,
By that weird Pilgrim given.

Remember Johnny Appleseed,

All ye who love the apple;
He served his kind by Word and Deed,
In God’s grand greenwood chapel.
WENDING WESTWARD.
 A new star rose in Freedom’s sky
A hundred years ago;
It gleamed on Labor’s wistful eye,
With bright magnetic glow;
Hope and Courage whispered, Go,
Ye who toil and ye who wait!
Open swings the People’s gate!
Beyond the mountains and under the skies
Of the Wonderful West your Canaan lies:—
On the banks of the Beautiful River,
By the shores of the Lakes of the North,
There fortune to each will deliver
His share of the teeming earth.

Jocund voices called from the dark

Hesperian solitude, saying, Hark!
Harken, ye people! come from the East,
Come from the marge of the ocean, come!
Here in the Wilderness spread a feast;
This is the poor man’s welcome home.

Hither with axe and plow;

(Carry the stripes and stars!)
Come with the faith and the vow
Of patriots wearing your scars
Like trophies, upon the victorious breast,—
Noblemen! wend to the West!
Load your rude wagon with your scanty goods
And drive to the plentiful woods;
Your wheels as they rumble shall scare
The fleet-footed deer from the road,
And waken the sulky brown bear
In his long unmolested abode;
The Redman shall gaze in dumb fear
At the wain of the strange pioneer,
His barbarous eyes vainly spell
The capital letters which tell
That the White-foot is bound
For the good hunting-ground
Where the buffaloes dwell.

To the Ohio Country, move on!

Bring your brain and your brawn
(Some books of the best,
Pack into the chest!)
Bring your wives and your sons,
Your maidens and lisping ones;
Your trust in God bring;
Choose a spot by a spring,
And build you a castle—a throne,
A palace of logs—but your own!

Happy the new-born child

Nursed in the greenwood wild;
Though his cradle be only a trough,
Account him well off;
For born to the purple is he,
The proud royal robe of the Free!
For the latest time is the best,
And the happiest place is the West,
Where man shall establish anew
Things excellent, beautiful, true!
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