Cover

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pp. C-C

Title Page, Copyright Page

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pp. i-vi

Contents

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pp. vii-vii

ILLUSTRATIONS

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pp. viii-viii

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Acknowledgments

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pp. ix-xii

I have a vague sense that the remote origins of this book can be traced to amoment in 1985, when I was visiting the home of Peter Blasenheim, my professor of Latin American history at The Colorado College.We spent an evening listening to his favorite Brazilian songs collected during several extended research...

Abbreviations

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pp. xiii-xvi

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Introduction

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pp. 1-11

Every cultural complex has specific forms of consecration and adulation for its artistic luminaries. For Brazilian singer-songwriter Caetano Veloso, perhaps the suprememoment of popular andofficial canonization came on February 20, 1998, as he surveyed a crowd of five thousand carnival celebrants in Salvador, Bahia, while he was perched on top of a...

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CHAPTER 1 Poetry for Export: Modernity, Nationality, and Internationalism in Brazilian Culture

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pp. 12-36

One of the most remarkable aspects of the tropicalist movement of the late 1960s was its sustained dialogue with several trends in Brazilian literary and cultural production of the twentieth century. The group of young singer-songwriters and their interlocutors in film, theater, visual arts, and literature responded to...

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CHAPTER 2 Participation, Pop Music, and the Universal Sound

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pp. 37-72

The tropicalist movement coalesced toward the end of a tumultuous decade marked by the intensification of left-wing activism and a reactionary military coup in 1964 aimed at preempting any movement for radical social transformation. Debates over the proper role of the artist in relation to progressive social and political movements oriented much...

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CHAPTER 3 The Tropicalist Moment

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pp. 73-121

Within several months after Gilberto Gil and Caetano Veloso introduced the ‘‘universal sound’’ at the 1967 festival of TV Record, their music was dubbed ‘‘Tropicalismo’’ in the mainstream press. As noted in the introduction, the name of the movement referenced Veloso’s composition ‘‘Tropicália,’’ which in turntook...

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CHAPTER 4 In the Adverse Hour: Tropicália Performed and Proscribed

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pp. 122-159

To fully appreciate the controversy generated by Tropicália, it is necessary to remember that many mpb artists, particularly the protest singers, maintained an ambivalent, if not antagonistic, relationship with the mass media. Sérgio Ricardo, the artist who was booed off stage at the 1967 TV Record festival, has provided insights into the tension between...

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CHAPTER 5 Tropicália, Counterculture, and Afro-Diasporic Connections

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pp. 160-187

As a collectiveproject,Tropicáliaended inDecember 1968, yet it inspired emerging artists and groups loosely identified with a ‘‘post-tropicalist’’ current in mpb. For the original Bahian group and their allies in Rio and São Paulo, the tropicalist experience continued to orient their work in a diffuse and nonprogrammatic fashion....

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CHAPTER 6 Traces of Tropicália

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pp. 188-214

Throughout the seventies and eighties, the tropicalists remained acutely sensitive to the ongoing transformations and innovations in Brazilian and international musics.Their early experiments with electric instruments and rock music set the stage for a ‘‘boom’’ in Brazilian rock in the 1980s. Their creative appropriation of reggae, disco, soul, juju, and...

Notes

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pp. 215-234

Bibliography

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pp. 235-246

Discography

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pp. 247-248

Index

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pp. 249-256