Profilo Traduttore: Pedro Oliveira (pedrohpso)

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I am from Brazil, and I have been studying English since I was very young, having been approved in Cambridge's FCE I hold a B2 level. I have graduated in Entrepreneurship, and I am keen on Arts, therefore translating texts about the film industry and Pop Culture comes very easily to me.

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Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.
Although the D.C. area was the original home to notable musicians ranging from Duke Ellington and Marvin Gaye to Jim Morrison, Mama Cass and Nils Lofgren, by the 1960s there was little musical infrastructure in D.C. to support a local scene of musicians that would achieve national renown, and most local musicians who sought success or influence went to cities such as New York, Detroit or Los Angeles to pursue their careers.	Embora a região de D.C. tenha sido o lar original de músicos notáveis, que vão de Duke Ellington e Marvin Gaye até Jim Morrison, Mama Cass e Nils Lofgren, por volta dos anos 60 havia pouca infraestrutura em D.C. para incentivar o cenário local de músicos que iriam alcançar renome nacional, e a maioria de músicos locais que desejavam sucesso ou influência foram para cidades como Nova York, Detroit, ou Los Angeles para seguir suas carreiras.
Gaye, for instance, became an innovator and global star of R&B but went to Motown Records before achieving major renown.	Gaye, por exemplo, se tornou um inovador fenômeno global do R&B, mas foi para a Motown Records antes de alcançar grande reconhecimento.
One rare example of a local scene at the time was the Takoma Park folk scene, centered on the independent self-releases of John Fahey, an acoustic-based artist with both a traditional orientation and an experimental inclination.	Um exemplo raro de uma cena local no período, foi a cena Folk de Takoma Park, focada nos lançamentos autorais de John Fahey, um artista acústico possuidor tanto de uma formação tradicional quanto uma inclinação para o experimental.
This scene had little commercial impact at the time, even in the D.C. area, and its artistic influence on underground musicians such as Sonic Youth occurred over a longer term.	Esta cena tinha pouco apelo comercial na época, até mesmo em D.C., e sua influência artística em músicos underground como a banda Sonic Youth, só ocorreu após um tempo mais longo.
In the 1970s, however, the majority African American city and its surrounding suburbs such as Prince George's County, Maryland developed a homegrown type of dance-oriented, African-influenced funk music called Go-go, which became highly popular among local residents, though it failed to attract significant national or global attention as compared with other forms of dance music at the time.	Nos anos 70, entretanto, a cidade majoritarimante Afro-americana e os subúrbios próximos como Prince George`s County, Maryland, desenvolveu um estilo musical chamado Go-go, que é centrado na dança e possui influência africana, rapidamente se popularizando entre os residentes locais, apesar de não conseguir atrair atenção nacional ou global, se comparado a outras formas de dance music no período.
Go-go artists of major importance in its early years included Rare Essence, Trouble Funk and E.U., with Chuck Brown being a figure commonly associated with the movement from then to the present.	Artistas Go-go de maior relevância nos anos iniciais incluíam Rare Essence, Trouble Funk e E.U., com Chuck Brown sendo uma figura comumente associada ao movimento daquele tempo, até os dias de hoje.
A local infrastructure of independent stores and labels released Go-go music, and local radio stations played it.	Uma infraestrutura local de lojas e gravadoras independentes lançavam a música Go-go, e rádios locais tocavam.
The late 1970s and early 1980s also marked the birth of a punk rock-inspired independent music scene in the nation's capital which would prove highly influential on other musicians around the country and the world, providing the first independent rock scene in Washington, D.C. and one of the earliest in the U.S. Bad Brains helped to put D.C. on the map with a sound that merged reggae and soul with hard guitars to develop the musically and politically subversive genre of hardcore punk.	O final dos anos 70 e começo dos anos 80 também marcou o nascimento de uma cena musical inspirada pelo punk rock na capital da nação, que se provaria muito influente em outros músicos ao redor do país e do mundo, fornecendo a primeira cena de rock independente em Washington, D.C. e uma das primeiras no Estados Unidos. A banda Bad Brains ajudou a colocar D.C. no mapa com um som que unia reggae e soul com guitarras pesadas, para desenvolver o musicalmente e politicamente subversivo gênero do hardcore punk.
D.C. resident Henry Rollins, who also came out of the hardcore punk scene, joined the highly influential band Black Flag and became their frontman.	O morador de D.C. Henry Rollins, que também saiu da cena de hardcore punk, se juntou a banda de muita influência Black Flag, e virou seu vocalista principal.
Ian Mackaye and Jeff Nelson founded Dischord Records, originally to release their own groundbreaking hardcore punk recordings with bands such as Teen Idles and Minor Threat.	Ian MacKaye e Jeff Nelson fundaram a Dischord Records, originalmente para lançar suas próprias gravações revolucionárias de hardcore punk com bandas como Teen Idles e Minor Threat.
By the later 1980s, Dischord had maintained its firmly independent ethic even as it became a D.C. institution.	Por volta do final dos anos 80, a Dischord manteve sua firme ética independente até mesmo após virar uma instituição de D.C.
Meanwhile, its bands such as Embrace and Rites of Spring had developed beyond the hardcore sound to an emotionally raw and more melodic, but still abrasive music which eventually attracted the tag "emo-core" or "emo," which would widely influence alternative rock music in the 1990s and 2000s.	Enquanto isso, suas bandas como Embrace e Rites of Spring se desenvolveram além do som hardcore para um emocionalmente visceral e mais melódico, porém ainda abrasivo, que eventualmente foi classificado como "emo-core" ou "emo", que iria fortemente influenciar a música de rock alternativo nos anos 90 e 2000.
The first wave of D.C. independent musicians gradually moved on to developing post-hardcore styles.	A primeira onda de músicos independentes de D.C. gradualmente se inclinou a desenvolver estilos post-hardcore.
Members of different Dischord bands were united in the MacKaye-fronted Fugazi, who existed from the 1980s to early 2000s and became a prototypical independent band in their business model.	Membros de diferentes bandas da Dischord se uniram na banda liderada por MacKaye, Fugazi, que existiu dos anos 80 até o início dos anos 2000, e se tornou um protótipo de banda independente no modelo de negócio deles.

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