Tropicalismo

ironic critique of modernization, by mocking the effects of American consumerism and yet utilizing its musical styles. This can most clearly be seen in the 1968 album artwork for Tom Zé’s ‘Grande liquidação’ as he even presents himself as for sale in the neon blur of consumer bliss [Dunn, p.112]. Tropicália’s music can therefore be seen as a blend of cultures that parodies modern grand narratives of capitalism and rejects the conventional image of Brazilian nationalism. This fusion gained much criticism as its foreign influence attacked traditional Brazilian values and even appeared to embrace American culture, a nation that had recently funded the 1964 military coup. Contemporary critic Tinhorão comments this had ‘two outcomes: while tropicalismo, with the introduction of electric guitars into refined popular music, opened the way for the domination of international rock in the 1970s in university sectors, the opening to foreign capital and know-how would lead the nation to financial and economic domination by the multinationals ‘[Tinhorão 1986, p.265-6]. Whilst the ‘domination of international rock’ may appear to have no adverse effect, Tinhorão goes on to highlight how the leaders of the new Jovem Guarda rock movement expressed no political interest. This can be seen to comply with the regime’s desire to instill political apathy amongst the youth following the violent student protests of 1968. However, by 1970 Dunn argues that ‘electrical instruments…no longer generated…

journalistic or other artistic pieces in general - needed to be revised before reaching its audience. To be released to the general public, every record must have gone through the government agency known as Divisao de Censuras de Diversoes Publicas, or Censorship Division for the Public Entertainment. It is believed that over 67,000 songs passed through censors' analysis, and about 7,000 of them were completely forbidden. Just before the AI-5 was published, big names in the Brazilian music…

samba, but soon incorporated elements of Debussy and Ravel 's Jazz and Impressionism, and developed an intimate, lightweight and colloquial outline based on the solo voice and piano or guitar to Accompaniment, and with refinements of harmony and rhythm. The biggest names of this time are Nara Leão, Carlos Lyra, Joao Gilberto, Toquinho, Vinicius de Morais, Tom Jobim and Maysa Matarazzo. After the bossa nova, in the 60 's, samba gained new experiences with other genres, such as rock and funk, and…

Final Research Paper: Os Mutantes and Tropicália By: Christie Alexander In Brazil, on April 1, 1964, the Armed Forces, backed by the United States, overthrew the Brazilian President João Goulart. Goulart was a member of the Brazilian Labour Party. The 1964 Brazilian coup d’état put Brazil under the control of a military regime until 1985. This event sparked a musical movement in Brazil known as Tropicália. Also known as Tropicalismo, this movement was not only about music in Brazil but theater,…