This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, work. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections and in Portuguese popular music to António Variações 1982 deb. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire.

I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. more Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music Daniel da Silva This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homoand transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Pop.

Making use of Hortense Spiller’s theorization of the trans-Atlantic slave trade as 'body-theft,' I argue that Matogrosso’s referents and trans voice reembody the Luso-Afro-Brazilian black mother in ways that unsettle Lusotropicalism and haunt Portuguese nationalist tropes. Matogrosso conflates the two versions, titling the track, 'Mãe preta (Barco negro).' This article marks Matogrosso’s recording as an iteration of transgender voice and locates-in his performance and album artwork-queer, indigenous, and Afro-Brazilian intersections that rework the mãe preta figure central to Brazil’s foundational narrative. more As part of his 1975 solo debut album, Água do céu-pássaro, Ney Matogrosso recorded a cover of 'Barco negro,' a Portuguese fado made famous by Amália Rodrigues and based on an earlier Brazilian song, 'Mãe-preta,' written by Caco Velho and Piratini and recorded by Os Tocantins in 1943. As part of his 1975 solo debut album, Água do céu-pássaro, Ney Matogrosso recorded a cover of &qu.

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