Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture

Notes

NOTES I N T R O D U C T I O N 1. Fabio Schivartche, ‘‘‘Doutor’ Caetano recebe título sobre trio elétrico,’’ Folha de São Paulo, Feb. 20, 1998. The quotations that follow in the text are from this article. 2. See Martins, ‘‘A geração AI-5.’’ 3. In Latin America, the contemporary usage of hybridity is particularly indebted to the formulations of Néstor García Canclini in his book Hybrid Cultures. 4. Bourdieu, ‘‘Field of Cultural Production,’’ 37. 5. These articles were later published in a volume of essays written by diverse authors about popular and ‘‘erudite’’ music in Brazil and abroad. See Augusto de Campos, Balanço da bossa. 6. This articlewas later published in Brazil as ‘‘Cultura e Política, 1964–1969,’’ in O pai de família, 61–91. An English translation of this essayappears in Schwarz’s Misplaced Ideas. 7. Schwarz, Misplaced Ideas, 140. 8. Ibid., 144. 9. Favaretto, Tropicália, 108. 10. Santiago, ‘‘Fazendo perguntas com o martelo,’’ 1–13. 11. Buarque de Hollanda, Impressões de viagem. 12. See Veloso, Alegria, alegria, and Gil, Gilberto Gil. 13. Examples of these three types of books are, respectively, Buarque de Hollanda and Gonçalves,Culturaeparticipaçãonosanos60;Paiano,Tropicalismo;andLima,Marginália. 14. Calado, A divina comédia dos Mutantes and Tropicália. 15. The most famous example of this literature is Fernando Gabeira’s O que é isso, companheiro ?. 16. Béhague, ‘‘Bossa and Bossas,’’ 216; ‘‘Brazilian Musical Values of the 1960s and 1970s.’’ 17. Perrone,MastersofContemporaryBrazilianSong.Forausefulintroductiontothemultifaceted tradition of Brazilian song, see McGowen and Pessanha, Brazilian Sound. 18. Johnson, Cinema Novo X 5; George, Modern Brazilian Stage. Other sources on Brazilian film include an edited volume by Johnson and Stam, Brazilian Cinema; Stam, Tropical Multiculturalism; and Xavier, Allegories of Underdevelopment. 19. There was no kinship between Oswald de Andrade and Mário de Andrade. For the sake of clarity I will refer to them either by full or by first names. 20. Augusto de Campos, Balanço da bossa, 207. 21. Veloso, Verdade tropical, 105. 22. Ibid., 192. 23. Mário Chamie, ‘‘O trópico entrópico de Tropicália,’’ Estado de São Paulo, Suplemento Literário, Apr. 4, 1968. 24. For a particularly useful English-language introduction to tropicalist music with an extensive annotated discography, readers should consult Slipcue (slipcue.com). 25. Stam, Tropical Multiculturalism, 361–63. C H A P T E R O N E 1. Ortiz, A moderna tradição brasileira, 13–14. 2. Modernismo was the Brazilian analogue to similar artistic movements throughout Spanish America that were typically referred to as las vanguardias. In Spanish America modernismo denotes late-nineteenth-century aestheticism roughly equivalent to Parnassianism in Brazil. 3. Bosi, História concisa, 385–86. 4. Torgovnick, Gone Primitive, 8. 5. See, for example, Johnson, ‘‘Tupy or Not Tupy,’’ 46. 6. Oswald de Andrade, ‘‘Manifesto da Poesia Pau-Brasil,’’ in Teles, Vanguarda européia e modernismo brasileiro, 326–31. Cited below by author. For a useful English translation , see Stella M. de Sá Rego, ‘‘Manifesto of Pau-Brasil Poetry,’’ Latin American Literary Review 14, no. 27 (1986), 184–87. 7. Santiago, ‘‘Fazendo perguntas com o martelo,’’ 6. 8. Oswald de Andrade, ‘‘Manifesto Antropófago,’’ inTeles, Vanguarda européia and modernismo brasileiro, 353–60. For an excellent annotated translation, see Leslie Bary, ‘‘Oswald de Andrade’s Cannibalist Manifesto,’’ Latin American Literary Review 19, no. 38 (1991): 35–47. 9. See ‘‘Nhengaçu Verde Amarelo (Manifesto do Verde-amarelismo, ou da Escola da Anta),’’ in Teles, Vanguarda européia e modernismo brasileiro, 361–67. 10. José de Alencar (1829–77) was a writerand conservative politician during the reign of Dom Pedro II, the last emperor of Brazil. His first Indianist novel, O Guaraní (1857), inspired an opera,written by Brazilian composer Carlos Gomes,which was enthusiastically acclaimed after opening at Teatro Scala in Milan in 1870. 11. Johnson, ‘‘Brazilian Modernism,’’ 204. 12. ThejabutiisatypeoftortoiseinnorthernBrazilthatappearsasawilyandaggressive trickster figure in indigenous tales. See Bary, ‘‘Oswald de Andrade’s Cannibalist Manifesto,’’ 46, n. 23. 13. Nunes, ‘‘Antropofagia ao alcance de todos,’’ 15–16. 14. Pindorama is the Tupi designation for Brazil that means ‘‘region of palm trees.’’ See Bary, ‘‘Oswald de Andrade’s Cannibalist Manifesto,’’ 47, n. 28. 15. Helena, Totens e tabus, 164–65. 16. Haroldo de Campos, ‘‘Rule of Anthropophagy,’’ 44. 17. Bary, ‘‘Civilization, Barbarism, ‘Cannibalism,’’’ 98–99. 18. RobertoSchwarz,‘‘BrazilianCulture:NationalbyElimination,’’inMisplacedIdeas,9. 19. Mello e Souza, O tupi e o alaúde, 10–16. See also...