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Gerard Béhague, „Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95)”

Latin American Music Review / Revista de Música Latinoamericana, Vol. 27, No. 1 (Spring – Summer, 2006) pdf

For the last fifteen years or so, Brazil has seen a social fragmentation (predominantly urban) and a parallel growing diversity in its popular music expressions. In 1985 Brazil returned to a democratic government after over twenty years of military authoritarian rule during which censorship was rampant and yet the popular music of the country developed in unprecedented fashion. The democratic return has meant freedom of expression and relative economic stability (especially in the 1990s and until the recent devaluation of the real), which prompted consumption of imported goods with the opening of the huge local market for imports. In the 1960s, after the emergence of the trend internationally known as bossa nova, the acronym MPB began to be used to designate new varieties of urban popular music, among which the most controversial was the short-lived Tropicilia movement, with the great figures of Caetano Veloso, Gilberto Gil, Tom Ze, Capinam, Rita Lee and Os Mutantes, and singer Gal Costa. These artists/ musicians/poets, together with Chico Buarque, Milton Nascimento, and a few others, represented the most sophisticated cultivation of popular song in the history of Brazilian popular music, and the most overt and active involvement in politics and cultural changes as witnessed in their modern urban experience.

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