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Brutality GardenTropicalia and the Emergence of a Brazilian Counterculture$
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Christopher Dunn

Print publication date: 2001

Print ISBN-13: 9780807826515

Published to North Carolina Scholarship Online: July 2014

DOI: 10.5149/9781469615707_Dunn

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Participation, Pop Music, and the Universal Sound

Participation, Pop Music, and the Universal Sound

Chapter:
(p.37) 2 Participation, Pop Music, and the Universal Sound
Source:
Brutality Garden
Author(s):

Christopher Dunn

Publisher:
University of North Carolina Press
DOI:10.5149/northcarolina/9780807826515.003.0003

This chapter discusses the participation of musicians in social movements and cultural groups, and their active involvement in the progressive transformation of Brazilian society in the 1960s. First, it discusses the theory and practice of the Centro Popular de Cultura (cpc, People's Center for Culture). The chapter then examines the protest culture during the early years of military rule. The Bahian musicians and the competition between bossa nova artists and Brazilian rock artists are also examined. Finally, the chapter discusses what Gilberto Gil and Caetano Veloso developed as the “universal sound,” which they first performed at São Paulo's Festival de Música Popular Brasileira in 1967.

Keywords:   social movements, cultural groups, cpc, Center for Culture, Bahian musicians, bossa nova, Brazilian rock, Gilberto Gil, Caetano Veloso

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