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Carlos Calado
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Carlos Calado
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Carlos Calado
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Carlos Calado
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Carlos Calado
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Tropicália
Carlos Calado conta a trajetória do movimento que mudou a MPB por meio de uma abrangente reconstituição histórica baseada em entrevistas, farta pesquisa em arquivos e material iconográfico em grande parte inédito. "O que se tem, então, é uma história radiante, que faz o leitor enveredar pela cultura pop brasileira nos anos de 67 e 68." (Pedro Alexandre Sanches, Folha de S. Paulo)
Os Mutantes
In 1968, Os Mutantes (The Mutants) released their self-titled first album in Brazil. It was a bizarre psychedelic masterpiece and was followed seven more brilliant and eclectic works of tropical rock before the band broke up in the mid-'70s. They would have remained a strange footnote in musical history if they hadn't been rediscovered in the '90s by David Byrne, Beck, and thousands of hip college DJs in America. Twenty years after they disbanded, Os Mutantes are an influential cult band with a devoted following and several American releases, including a best of collection, Everything Is Possible, from Luaka Bop. Now Os Mutantes: The True Psychedelic Adventures of a Band from Brazil tells th...
Brutality Garden
In the late 1960s, Brazilian artists forged a watershed cultural movement known as Tropicalia. Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropicalia dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians. Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil...
The Defence of Tradition in Brazilian Popular Music
Sean Stroud examines how and why Música Popular Brasileira (MPB) has come to have such a high status, and why the musical tradition (including MPB) within Brazil has been defended with such vigour for so long. He emphasizes the importance of musical nationalism as an underlying ideology to discussions about Brazilian popular music since the 1920s, and the key debate on so-called 'cultural invasion' in Brazil. The roles of those responsible for the construction of the idea of MPB are examined in detail. Stroud analyses the increasingly close relationship that has developed between television and popular music in Brazil with particular reference to the post-1972 televised song festivals. He g...
