deeply rooted in the political and cultural background of Brazil. In 1967 Caetano Veloso felt that the Brazilian Popular Music after the appearance of Bossa Nova eight years prior had run out of energy and creativity. Velosos’ first idea was to get in contact with some big names in the Brazilian music industry to convince them that Brazilian music was in desperate need of new ideas but to no avail he got little to no support. Veloso then decided to gather a small group of young musicians which encompassed
regard to Portuguese interests. The second period of the possibility of change occurred between 1958 and 1962. The third window of opportunity occurred between 1968 and 1971 shortly after Salazar’s incapacitation and the installation of Marcello Caetano.
Tropicália movement was “set against injustice, restrictive sexuality and a military dictatorship.” Therefore, songs that protested against the state and that claimed freedom rights was the perfect environment for artists such as Zè or Gilberto Gil and Caetano Veloso. These artists then used music as a tool for creating “a genre of music loosely based on the idea of marrying native sounds with foreign influences or music from other cultures.” Similarly, Professor Ramsey’s ‘I will Forever Remain Faithful” also
In our class we learned a lot about the various military regimes that occurred throughout Latin America. However out of all the ones we discussed, Brazil’s dictatorship was never mentioned. I decided to write about it, but at the same time also compare it to the other military regimes in Latin America. Unlike most of the other governments, Brazil’s military one was not as brutal. It in no way measured up to the brutality of the Argentinian dictatorship or the ruthlessness of the dictatorship in