A PowerPoint with background readings and music selections about Tropicalia, the short-lived musical movement in Brazil that nevertheless has greatly impacted all Brazilian music since. It includes the context of the military dictatorship against which musicians and others struggled and how music served to give many of the oppressed a voice.
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These slides provide context for poet Frank X Walker's 2013 poetry collection about the assassination of Civil Rights leader Medgar Evers. The collection features poems in the voices of Evers' widow, Myrlie Evers; Evers' brother, Charles Evers; Evers' assassin, Byron de la Beckwith; and Beckwith's two wives. Topics covered in the slides include persona poems, segregation, Jim Crow, "Strange Fruit," "Dixie," slavery, the KKK, lynching, Emmett Till. The slides were created by members of Mount Mercy University's composition class, EN114 Writing and Social Issues.
Of Mice and Men - Social, Historical and cultural context 1Dr_RyanPhoenix
This is a lesson based upon the Of Mice and Men scheme; focusing on the Social, Historical and cultural context. This is a great introduction lesson to this. This is the first part of the whole sub-context based on the Social,Historical and cultural context presented in Of Mice and Men.
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These slides provide context for poet Frank X Walker's 2013 poetry collection about the assassination of Civil Rights leader Medgar Evers. The collection features poems in the voices of Evers' widow, Myrlie Evers; Evers' brother, Charles Evers; Evers' assassin, Byron de la Beckwith; and Beckwith's two wives. Topics covered in the slides include persona poems, segregation, Jim Crow, "Strange Fruit," "Dixie," slavery, the KKK, lynching, Emmett Till. The slides were created by members of Mount Mercy University's composition class, EN114 Writing and Social Issues.
Daniel Vigletti, A Desalambrar” [Let’s tear down the fences]FOllieShoresna
Daniel Vigletti, “A Desalambrar” [Let’s tear down the fences]
From the album Canciones para mi America [Songs for My America], Uruguay, 1960s.
Yo pregunto a los presentes
Si no se han puesto a pensar
Que esta tierra es de nosotros
Y no del que tenga mas
Yo pregunto si en la tierra
Nunca habra pensado usted
Que si las manos son nuestras
Es nuestro lo que nos den
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aquel
De Pedro y Maria
De Juan y Jose
Si molesto con mi canto
A alguno que ande por alli
Le aseguro que es un gringo
O un dueno del Uruguay
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aqul
De Pedro y Maria
De Juan y Jose
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aquel
De Pedro y Maria
De Juan y Jose
I ask those present
if they haven't begun to think
that this land belongs to us
and not to the man who has most.
I ask if you never
would have thought of the land,
that if these hands are ours,
what they give us is ours.
Let’s tear down the fences,
The land is ours, yours, his,
Pedro and Maria's, Juan and Jose's.
If I annoy anyone with my song
someone that walks through here,
I assure you that he is a gringo
or an Uruguayan landlord.
Let’s tear down the fences
The land is ours, yours, his
Pedro and Maria's, Juan and Jose's
Let’s tear down the fences
The land is ours, yours, his
Pedro and Maria's, Juan and Jose's
Carlos Puebla, “En Eso Llegó Fidel” (And then Fidel Arrived), Cuba (circa 1960)
Aquí pensaban seguir
ganando el ciento por cierto
con casas de apartamentos
y echar al pueblo a sufrir
y seguir de modo cruel
contra el pueblo conspirando
para seguirlo explotando
y en esto llegó Fidel.
Y se acabó la diversión,
llegó el comandante y mandó a parar.
Aquí pensaban seguir
tragando y tragando tierra
sin sospechar que en la sierra
se alumbraba el porvenir
y seguir de modo cruel
la costumbre del delito
hacer de Cuba un garito
y en eso llegó Fidel
Aquí pensaban seguir
diciendo que los cuatreros,
forajidos, bandoleros
asolaban al país
Y seguir de modo cruel
con la infamia por escudo
difamando a los barbudos,
y en eso llegó Fidel.
Aquí pensaban seguir
jugando a la democracia
y el pueblo que en su desgracia
se acabara de morir
Y seguir de modo cruel
sin cuidarse ni la forma,
con el robo como norma,
y en eso llegó Fidel.
They were planning to stay on here
earning 100% (on their investments)
with apartment houses and the like
while the people suffered
and to continue in a cruel manner
conspiring against the people
to stay on exploiting it
and then Fidel arrived
And that was the end of the party
the commander arrived and ordered (all that) to stop
They were planning to stay on here,
taking in more and more land
without suspecting that in the mountains
the future was lightning up
and to continue in a cruel manner
the custom of crime
to turn Cuba into a gambling den
and then Fidel arrived.
They were planning to stay on here
saying that cattle thieves,
out ...
Daniel Vigletti, A Desalambrar” [Let’s tear down the fences]FOllieShoresna
Daniel Vigletti, “A Desalambrar” [Let’s tear down the fences]
From the album Canciones para mi America [Songs for My America], Uruguay, 1960s.
Yo pregunto a los presentes
Si no se han puesto a pensar
Que esta tierra es de nosotros
Y no del que tenga mas
Yo pregunto si en la tierra
Nunca habra pensado usted
Que si las manos son nuestras
Es nuestro lo que nos den
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aquel
De Pedro y Maria
De Juan y Jose
Si molesto con mi canto
A alguno que ande por alli
Le aseguro que es un gringo
O un dueno del Uruguay
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aqul
De Pedro y Maria
De Juan y Jose
A desalambrar, a desalambrar
Que la tierra es nuestra
Es tuya y de aquel
De Pedro y Maria
De Juan y Jose
I ask those present
if they haven't begun to think
that this land belongs to us
and not to the man who has most.
I ask if you never
would have thought of the land,
that if these hands are ours,
what they give us is ours.
Let’s tear down the fences,
The land is ours, yours, his,
Pedro and Maria's, Juan and Jose's.
If I annoy anyone with my song
someone that walks through here,
I assure you that he is a gringo
or an Uruguayan landlord.
Let’s tear down the fences
The land is ours, yours, his
Pedro and Maria's, Juan and Jose's
Let’s tear down the fences
The land is ours, yours, his
Pedro and Maria's, Juan and Jose's
Carlos Puebla, “En Eso Llegó Fidel” (And then Fidel Arrived), Cuba (circa 1960)
Aquí pensaban seguir
ganando el ciento por cierto
con casas de apartamentos
y echar al pueblo a sufrir
y seguir de modo cruel
contra el pueblo conspirando
para seguirlo explotando
y en esto llegó Fidel.
Y se acabó la diversión,
llegó el comandante y mandó a parar.
Aquí pensaban seguir
tragando y tragando tierra
sin sospechar que en la sierra
se alumbraba el porvenir
y seguir de modo cruel
la costumbre del delito
hacer de Cuba un garito
y en eso llegó Fidel
Aquí pensaban seguir
diciendo que los cuatreros,
forajidos, bandoleros
asolaban al país
Y seguir de modo cruel
con la infamia por escudo
difamando a los barbudos,
y en eso llegó Fidel.
Aquí pensaban seguir
jugando a la democracia
y el pueblo que en su desgracia
se acabara de morir
Y seguir de modo cruel
sin cuidarse ni la forma,
con el robo como norma,
y en eso llegó Fidel.
They were planning to stay on here
earning 100% (on their investments)
with apartment houses and the like
while the people suffered
and to continue in a cruel manner
conspiring against the people
to stay on exploiting it
and then Fidel arrived
And that was the end of the party
the commander arrived and ordered (all that) to stop
They were planning to stay on here,
taking in more and more land
without suspecting that in the mountains
the future was lightning up
and to continue in a cruel manner
the custom of crime
to turn Cuba into a gambling den
and then Fidel arrived.
They were planning to stay on here
saying that cattle thieves,
out ...
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
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Introduction to AI for Nonprofits with Tapp Network
Tropicalia: Music and Politics in Brazil
1. Please attribute Creative Commons with a link to creative commons.org
Except where otherwise noted, this work is licensed under:
http://creativecommons.org/licenses/by-nc/4.0/
6. What the Portuguese Brought
Musically
European tonal system
Moorish scales
Numerous festivals – Roman Catholic
Instruments: flute, piano, violin, guitar, clarinet,
triangle, accordion, cavaquinho, violincello, harp,
tambourine.
Syncopation and brisk, complex rhythms – worked well
with Africans’ music
Fondness for ballads, especially ones full of saudade.
(“nostalgia, yearning”)
Portuguese “fado” *
7. African Batuque
4 to 5 million survived the crossing
Slavery didn’t end until 1888
Came from Nigeria, Benin, Ghana, Angola, Zaire,
Mozambique
Africans’ culture survived In more pure form than it did
in America
10. Portuguese + African batuque =
samba
“Technically, samba has a 2/4 meter, an emphasis on
the second beat, a stanza-and-refrain structure, and
many interlocking, syncopated lines in the melody and
accompaniment. The main rhythm and abundant
cross-rhythms can be carried by handclapping or in
the percussion (the batucada), which may include
more than a dozen different drums and percussion
instruments. Samba is commonly accompanied by
instruments such as the guitar and four-string
cavaquinho…”
(McGowan and Pessanha, The Brazilian Sound)
13. History of Samba
Roots in Angola, Africa
Semba – “invitation to dance” – navel
touches (also could mean “trance”)
When and where: early 20th century,
Rio de Janeiro
Dona Alva was the queen of samba
and popularized it
Escolas de Samba (samba schools)
Carnaval became institution
Dona Alva’s daughter in Cachoeira,
with Aileen Santos
Bahia, August 2015
14. Samba
Early 20th century, Rio de Janeirso
Roots in Angola, Africa
Semba – “invitation to dance”
Ecolas de Samba
Carnaval
17. João Gilberto
Antonio Carlos Jobim
Bossa Nova - 1950s
Gilberto and Jobim took the traditional
samba, cleaned it up, and added West
Coast jazz elements, creating a
sophisticated, cool sound.
18. Bossa Nova
Bossa Nova is samba’s “rhythmic complexity pared
down to its bare essentials, transformed into a
different kind of beat…full of unusual harmonies and
syncopations, all expressed with a sophisticated
simplicity.”
-- Chris McGowan, The Brazilian Sound
19. Bossa nova arose during a period of
economic prosperity, industrialization, and
optimism in Brazil. Bossa Nova was middle-
class music made in clubs and Rio’s beach
apartments.
The inspiration for
the song “Girl from
Ipanema,”
Heloísa Pinheiro
Ipanema Beach
20. BOSSA NOVA COMES TO AMERICA
“The Girl from Ipanema” was Bossa
Nova’s biggest hit, second only to the
Beatles’ “Yesterday.”
Through the film Black Orpheus, Bossa
Nova music made it to America.
21.
22. The Northeast - Forró
Luiz Gonzaga
“Asa Branca” (White Wing)
When I saw the earth burning
Which is the fire of St. John
I ask God in heaven, oh
Why so much abuse
What a brazier, what a furnace
Not a foot of plantation
Through lack of water I lost my cattle
He died of thirst, my sorrel
Just like the white wing
Beats the wings of the desert
Then I said good-bye, Rosie,
Keep with you my heart.
Nowadays many a league away
in sad loneliness
I wish for rain to fall again
for me to return to my desert.
When the green of your eyes
spreads across the plantation
I assure you, don’t you cry, no, you saw
That I will return, you saw
My heart.
23. Saddest region – happiest
music?
Sertão – region of desert 1.5 million km
Many poor and uneducated (landless)
Result of latifundio system – a lot of land in few hands
Blood feuds, machismo run strong
Very religious, generous
Every decade hit by terrible drought
People emigrate to cities to a different type of squalor
Baião and forró emerged from the Northeast
24. Tensions mount
Vice President João Goulart became President in 1961,
when Janio Quadros resigned.
Goulart favored socially progressive policies.
Promised to enact basic reforms, such as helping the
longstanding problem of the landless.
Conservative elite disliked him.
Re-stablished relations with Eastern Europe and Cuba.
Openly spoke against foreign economic imperialism and
limited amount of money foreign corporations could send
out of Brazil.
Goulart proposed nationalizing Brazil’s industries to
reduce foreign control/ownership of Brazil’s resources.
25. Tropicália – early 1960s
• Caetano Veloso and Gilberto Gil,
creators
• Admired bossa nova for fusion of
native Brazilian and Western elements
• Liked musical “cannibalism.”
• Challenged the close-mindedness of
both Brazilian music and social norms.
• Embraced a holistic and optimistic
view of Brazil.
• Not always embraced by Brazil itself.
26. Gal Costa in “Baby”
“You need to know the pool,
margarine, Carolina, gasoline
You need to know me
You need to have an ice cream
In the cafeteria, to walk with us
To see me close
To hear that song by Roberto.
You need to learn English
You need to learn what I know
And what I do not know
And what I do not know …
You need, you need, you need
I do not know
Read it on my shirt…”
29. 1964 Coup d’etat
Unwilling to let President João
Goulart’s carry out his reforms, a
group of military generals with
civilian and U.S. backing overthrew
him.
Both the Right-wing and the U.S.
used Cold War propaganda to
distort Goulart’s reforms by calling
them “communism.”
The generals promised the regime
would last one year.
One year turned into 21, and the
“Years of Lead” were born.
30. May 1968 - March of a Hundred Thousand
Veloso Gil
31. The March protested the shooting death of Edson LuÍs, an 18-year old student.
The government retaliated.
37. Translation of “Calice”
(“Chalice”)
Father, take from me this chalice
Of red wine of blood
How does one consume this bitter drink
Swallow the pain, swallow the struggle
The mouth may be silenced but the chest remains
One does not hear the silence in the city
What does it matter that I am the son of the Virgin
Better I were the son of the other woman
Another less mortal truth
So many lies, so much brutal force
How difficult it is to awake silent
If in the silent of the night I curse myself
I want to launch an inhuman cry
As a way to be heard
Stunned by all that silence
While stunned I remain alert
In the terrace at any moment
I witness the rise of the monster from the lagoon
From excess weight, the sow no longer walks
From overuse, the knife no longer cuts
How difficult it is, Father, to open the door
That word stuck in my throat
That homeric trembling in the world
What does it matter to have good will
The chest may be silenced but the head remains
From the drunkards within the city
Perhaps the world is not small
Nor life a given reality
I want to invent my own sin
I want to die by my own poison
I want to lose your mind for good
My head losing your wisdom
I want to smell diesel fumes
Get drunk to the point where someone forgets me.
38. Paulo Freire, Educator
Luiz Ignacio Silva “Lula”
Brazil’s president from
2002-2011.
Paulo Francis, journalist
During 1968-1976, thousands of Brazilians were
imprisoned and exiled.
39. The government did so as part of its
interrogation of “subversives.”
“When I was in the Army Police jail…I
heard various times, at night, appalling
shouts and groans, not rarely followed by
emergency commands like ‘Bring the
stretcher,’ the roars of the victim giving
way, after a few seconds of terrible silence,
to the bustle of the executioners.”
-- Caetano Veloso, blog post, July 2013
APPROXIMATELY 10,000
TORTURED
40. Tortured by the
dictatorship
Frederick Morris, American
pastor
Augosto Boal, theater director
Dilma Rousseff,
Current President
of Brazil
Paolo Coelho, world
renowned author
Marcos Arruda,
Geologist, economist
41. Tortured to
death
Brother Tito de Alencar
Lima, Dominican priest
Stuart Angel,
student
Vladmir Herzog,
journalist
Luiz Edwardo
Merlino, journalist
Alexandre
Vannucchi Leme,
geology studentMarilena Villas Boas Pinto,
psychology student
42. Many regard samba “as a form of
‘cultural resistance’; not just as a
vehicle for protest during the
military’s rule…but also as a way to
assert tradition against the invasion
of the multi-nationals and consumer
values.”
--Charles Perrone, CD liner notes, O Samba
1970S
SAMBA AS RESISTANCE DURING
“THE YEARS OF LEAD”
43. Samba Reggae
African Consciousness and Pride
Created by Olodum around 1986
• Surdos – beat
• Caixas – high-pitched 16th notes/accent back beats
• Repiques -- create reggae cadence
Olodum is the most famous afro-bloco
• Commercially successful
• Work for recovery of black culture and against racism
• Appeared several times in Paul Simon’s work and Michael Jackson’s video
“They Don’t Care About Us”
46. Triumph of Tropicália: mixing it up
becomes normal
Even after the return to democracy, music was used to
draw attention to the inequalities widened during the
military regime.
Examples:
“O Navio Negreiro”
“Haiti”
47. Works Consulted
Béhague, Gerard. “Brazil, 4. Popular Music, Tropicália.” Grove Music
Online. 26 Sep 2007.
Byrne, David. Liner notes to The Best of Caetano Veloso. Nonesuch
Records, 2003.
Downey, Greg. “Veloso, Caetano Emauel Viana Teles.” International
Dictionary of Black Composers. Ed. Samuel A. Floyd. Chicago: Fitzroy-
Dearborn, 1999.
Dunn, Christopher. Brutality Garden: Tropicália and the
Emergence of Brazilian Counterculture. Chapel Hill, NC:
University of North Carolina P, 2001.
Frere-Jones, Sasha. “Cool Heat; Pop Music.” The New Yorker 29 Jan
2007:90. ProQuest Direct. 8 Oct 2007
Gilman, Bruce. “30 Years of Tropicalismo.” BRAZZIL Magazine. Dec 1997.
5 Oct 2007.
Kay, Lawrence. “Guide to Brazilian Music: Caetano Veloso.” 2007.
The Wonders of Brazilian Music. 5 Oct 2007
48. McGowan, Chris and Ricardo Pessanha. The Brazilian Sound: Samba, Bossa
Nova and the Popular Music of Brazil. Philadelphia: Temple UP, 1998.
Oliveira, Ana de. “Tropicália.” 2000-2001. 5 Oct 2007
Perrone, Charles A. “Brazil Popular, Populist, Pop Music.” Caravan Music.”
5 Oct 2007
Perrone, Charles A. “Other Words and Other Worlds of Caetano
Veloso.” Masters of Contemporary Brazilian Song. Austin:
University of Texas Press, 1989.
Perrone, Charles A. and Christopher Dunn, eds. Brazilian Popular Music
& Globalization. New York: Routledge, 2002.
Pessanha, Ricardo. Liner notes to Tropicália Essentials. Hip-O Records, 1999.
Schreiner, Claus. Música Brasileira: A History of Popular Music and the People
of Brazil. Trans Mark Weinstein. New York: Marion Boyars, 1992.
Tobar, Hector. “Brazil’s Voice, and its Soul.” Los Angeles Times 27 Oct
2002: E1. ProQuest Direct. 8 Oct 2007.
Veloso, Caetano. Tropical Truth: A Story of Music and Revolution in Brazil.
Trans. Isabel de Sena. New York: Alfred A. Knopf, 2002.
Editor's Notes
Natives’ music didn’t make it into Brazilian popular music. There were about 2 million, but got wiped out or lost contact with culture when moved to cities or towns.
Today 200,000 indios today, declining as development pushes further into the Amazon.
(due to numbers, Portuguese attitudes toward salves, free blacks, and quiolombos, among other factors.)
Cities allowed more freedom than plantations, slaves gathered. Still being imported in 1850
Heloisa Pinheiro was a student who everyday would walk from her home to the beach and pass by Jobim’s window where he sat composing.
Some thought bossa nova reflected on one reality of Brazil, that of the wealthy elites who lived in Ipanema. Other music emerged based on samba that tried to embrace all of Brazil’s truths.
One of these other realities was the Northeast.
Baiao came from African circle dance. 2/4 rhythm, syncopated, steady beat all through to make easy to dance to.
Replaced guitar with accordion, added triangle and bass drum.
Natural scale with raised fourth and flattened seventh, mixed with minor scale.
Some tonal peculiarities resemble medieval modes used in Gregorian chant.
Quadros’ resignation remains a mystery. His cryptic letter mentioned foreign and terrible forces
Against this backdrop and the 1964 coup, Tropicalica emerged.
The young white kids here are “Os Mutantes” who weren’t part of Tropicalia but often played with them, providing the electric guitars and rock elements.
Tropicalia emerged around the same time as political turmoil in Brazil. People saw the inequities in Brazil but differed on how to help it and move Brazil into the future. There was dissention and clashes between the left and right, but no one foresaw what happened in 1964.
A group of about 80 military generals, with U.S. backing, overthrew democratically elected president Goulart in 1964. Goulart, although a landowner and wealthy member of the aristocracy himself, had begun making noises about helping the crippling poverty of the Northeast. This led to him being dubbed a “Marxist.”
This photo of a girl named Rachel refusing to shake the dictator’s hand (late 70s) came to symbolize resistance to the dictatorship.
The man who is trying to shake her hand is Medici, the last of the dictators and the most horrendous. He is known as “O monstro” in Brazil. (The Monster.) You should hear Pare talk about him.
The military claimed the “revolution”—yes, they called it that--was necessary in order to reorganize the country and fix the financial chaos. In reality, the elite saw their status and wealth threatened by Goulart’s leftward leanings. Goulart also wanted to nationalize industries and keep Brazil’s wealth for Brazil—which made the U.S. unhappy, as it had much invested in Brazil such as mining, etc.
Four years after the military coup, many artists, intellectuals, and journalists became frustrated by the dictatorship’s refusal to return to democracy.
Veloso and Gil were among these.
In this photo you see artists, musicians, intellectuals, journalists, and students protesting the shooting death of a student, Edson Luis.
By 1968, the people had had enough.
Luis was unarmed but gunned down by the police during an earlier peaceful protest.
AI-5 gave the dictatorship carte-blanche—now they could do whatever they wanted.
Instead of moving toward democracy, the military only tightened the reins.
The Catholic church and other religious groups were immune at first, but not for long.
It’s important to note how Brazil, in contrast to Argentina and Chile, attempted to give its methods the illusion of “legality” by its uniquely tight cooperation between civil society and the military. It also thrived on secrecy and threat. Everyone knew about the torture (and often could hear the screams) but the government did not admit to it. They preferred to let the rumors frighten people into a state of fear and compliance.
Trials of those accused of opposing the government were sometimes held, but without any access to lawyers, and with juries composed of only military personnel.
Sentences were passed down, but the government concealed what it did to extract “confessions.”
People who the government even vaguely suspected of being “subversive” were arrested and persecuted, as well as members of armed resistance groups, regardless of they had actually committed a crime or not.
Many times the regime operated on wrong information, so they tortured the wrong people, including the wives and children of suspects--and even some of their own informants who had infiltrated left-wing organizations! (Collateral damage.) They also persecuted those within the military itself who disliked the violent repression.
They tortured at least one baby.
Protective of its reputation abroad, the government tried to cover up deaths from torture and outright murders, claiming they were suicides or accidents.
In short, the government created the appearance of a legal government prosecuting criminals, when in reality it was an illegal government, knowingly violating national and international human rights laws.
After a time, even the weak voices of concern from American activists weren’t enough to halt their violence. The dictators stopped caring what the world thought.
Veloso and Gil spent 2 months in prison, in terrible conditions that could be compared to Guantanamo Bay today.
Top photos:
Gilberto Gil before and after the prison stint. Both nearly starved.
After 4 months of house arrest (where they had to give a concert to raise money for their own plane tickets) they were exiled to London.
The explanation for their arrest concerned their appearing in a club that had a poster in it that the government didn’t like.
In reality, the government saw what Veloso and Gil were doing as more subtle and therefore more dangerous than outright protest songs.
Bottom photo:
In a symbolic gesture, the military shaved their heads. It was a way of saying, “We hereby remove your countercultural nonsense” and it was a way to humiliate them—they did this to most political prisoners.
The government effectively censored Tropicalia’s message of embracing the West and of freedom by their arrest and exile. But in 1971 were all to eager to “invite him back” to appear on a show, where they tried to force him to sing a song glorifying the military regime. He refused, and they threatened his family.
Chico Buarque sang traditional sambas reminiscent of a past and more stable Brazil, songs everyone could love—things were so tense politically it was like an escape. He got to be idolized and a symbol of something he didn’t want to be associated with, because he saw the ills of the dictatorship and had concerns about where Brazil was going.
So he wrote a play called Roda Viva about a start who gets literally devoured by his fans. One night while working on the play Roda Viva when right-wing terrorist groups attacked and beat actors, musicians, and technicians working on it. In another city everyone was ordered to leave the city or be killed. After being detained and interrogated, he went into exile to protect himself.
He wrote songs more openly protesting the government, but his family connections kept him from being arrested when he returned from self-exile in 1970. But 2/3 of his songs were censored.
The song Calice is a play on “Cale-se” which means “chalice” but also shut up. It is a metaphorical comment on the repressive times and silencing of a whole nation.
When tried to play it on stage, police came on and turned off microphones while they were singing.
Some say this refers to Stuart Angel’s death….describe mouth taped to exhaust pipe.
Even as early as the 1964 coup, the government was arresting anyone who opposed them.
Reading the names of those detained, tortured, or killed by the government reads like a “Who’s Who” of famous Brazilians.
This Brazilian was part of a troupe who escaped from Brazil and traveled around the U.S. in the early 70s trying to raise awareness about what was happening there. The picture shows him re-enacting his own experience in the play called “Meditation on Political-Sado-masochism” performed by The Living Theatre.
Victims who were treated to the parrot’s perch not only were hung this way for hours or days, but they had electric wires inserted into orifices (anus, mouth, nose, eyes, ears) and applied to their genitals, and these wires gave them repeated electrical shocks. (The officers threw water on the victim to heighten the conductivity.)
The most common forms of torture consisted of beatings, the parrot’s perch, severe electric shock, sexual abuse including rape and castration, being trapped in a freezing space without food and water, water torture, and burning with lit cigarettes. Most victims received several of these forms or all of them.
…along with hundreds of others.
These weren’t gun-toting revolutionaries, but students, journalists, etc. Stuart Angel was dragged behind a car until all his skin came off. During this his mouth was taped to the exhaust pipe so he had to inhale the fumes, according to an eyewitness.
Driven insane by his torture experience, Brother Tito became mentally ill, paranoid, and hung himself when no one would help him with the aftereffects of his abuse.
It’s been proven that beloved, popular journalist Vladmir Herzog’s death was made to look like a suicide. In reality he was tortured to death.