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Psychedelic rock in Latin America is the psychedelic rock music scene in Latin America.
Latin America proved a particularly fertile ground for psychedelic rock. The Brazilian psychedelic rock group Os Mutantes formed in 1966, although little known outside Brazil at the time (due to the fact that they recorded in Portuguese), they have since accrued a substantial international cult following. [1] Os Mutantes also played a central role in the short-lived but revolutionary Brazilian aesthetic movement Tropicália, also known as 'Tropicalismo' (Tropicalism), an anti-authoritarian artistic reaction to the repressive military junta that seized power in Brazil in 1964. Encompassing visual art, theatre, poetry and music, Tropicália combined the popular and the avant-garde, and fused traditional Brazilian culture with foreign influences, including contemporary developments in British and American psychedelic music, and above all the music of The Beatles. [2] As well as recording their own material, Os Mutantes collaborated with other key figures in the burgeoning Tropicalist movement, including singer-songwriter Gilberto Gil, whom they backed on Gil's second LP. [3]
The musical manifesto of the Tropicalist movement was the landmark 1968 collaborative LP Tropicália: ou Panis et Circencis ("Tropicalia: or Bread and Circuses") which brought together the talents of Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Zé and Gal Costa, with arrangements by avant-garde composer-arranger Rogerio Duprat (who had studied with Pierre Boulez) and lyrical contributions from poet Torquato Neto. The album's group cover photograph depicted the collective holding a variety of objects and images, in a deliberate reference to the cover of The Beatles' Sgt. Pepper's Lonely Hearts Club Band . The collective also performed a number of concert "happenings" which were intended to both involve and provoke audiences, and these reportedly had a similar effect on Brazilian audiences to that experienced by folk purists who witnessed Bob Dylan's early "electric" concerts - the performers sported long hair, wore outlandish psychedelic costumes, used electric guitars and amplification, and played at full volume. Brazil's military junta was becoming increasingly suspicious of the anarchic anti-establishment attitudes of the Tropicalistas, who also found themselves at odds with the nationalistic student left-wing, who favoured traditional Brazilian musical forms, and rejected what they saw as the corrupting influence of Western pop music.[ citation needed ]
In September 1968 Caetano Veloso gave two tumultuous performances at the third annual International Popular Song Festival in Rio, where the audience included a large contingent of left-wing students who were vehemently opposed to the Tropicalistas. When Veloso (backed by Os Mutantes) performed in the first round of the Festival's song competition on 12 September, he was initially greeted with enthusiastic applause, but the situation soon turned ugly. Dressed in a shiny green plastic suit, festooned with wires and necklaces strung with teeth, Veloso provoked the students with his sensual movements and startling new psychedelic music. He was bombarded by insults, jeers and boos from the students, who became even more incensed when American pop singer John Dandurand made a surprise appearance during the song. The ideological conflict climaxed three days later when Veloso returned for the second round of the competition on 15 September, at which he performed a new song entitled "Prohibido a Prohibir" ("It is Forbidden to Forbid"), which was recorded live and later released as single.[ citation needed ]
The students began hissing and booing as soon as Veloso's name was announced, and when he began his performance, his overtly sexual stage moves and the experimental music of Os Mutantes provoked an outpouring of anger - the audience began booing so loudly stood that Veloso could barely be heard, and a large number then stood and turned their backs on the performers, prompting Os Mutantes to turn their backs on the audience. As the song continued, the students pelted the stage with fruit, vegetables, eggs, paper balls and anything else that came hand. Veloso stopped playing and launched into a furious monologue, in which he excoriated the students for their conservatism. After being joined by Gilberto Gil, who came on stage to show his support, Veloso finished his diatribe by telling the students "... if you are the same in politics as you are in aesthetics, we’re done for!" and declaring he was withdrawing from the competition. He then deliberately finished the song out of tune, angrily shouted "Enough!" and walked off arm-in-arm with Gil and Os Mutantes. [4]
Tropicália had a major effect on the Brazilian music scene during its brief heyday (1967–68), and the main performers made regular appearances on Brazilian stage, television and radio, but the movement was abruptly shut down in early 1969, following a provocative December 1968 TV performance which parodied the Brazilian national anthem. Gil and Veloso were both arrested in February 1969 on the orders of the military junta - they were held in prison for three months without charge or trial, and after a further four months under house arrest, they were released on condition that they leave the country, and they spent the next few years in exile in the UK. [3] Others in the Tropicalist movement were treated even more harshly - several were arrested and tortured, or forced to undergo psychiatric 'treatment'.[ citation needed ]
In the late 1960s, a wave of Mexican rock, heavily influenced by psychedelia and funk emerged, especially in northern border Mexican states, in particular, Tijuana, Baja California. Among the most recognized bands from this "Chicano Wave" (Onda Chicana in Spanish) were Three Souls in my Mind, Love Army, El Ritual [5] and Los Dug Dug's. [6] The Festival Rock y Ruedas de Avándaro was a historic Mexican rock festival held on September 11–12, 1971, on the shores of Lake Avándaro near the Avándaro Golf Club, in the central State of Mexico. The festival, took place at the height of La Onda and celebrated life, youth, ecology, music, peace and free love, [7] [8] has been compared to the American Woodstock festival [9] for its psychedelic music, counterculture imagery and artwork, and open drug use. In Chile from 1967 to 1973, between the ending of the government of President Frei Montalva and the government of President Allende, a cultural movement was born from a few Chilean bands that emerged playing a unique fusion of folkloric music with heavy psychedelic influences. The 1967 release of Los Mac's album Kaleidoscope Men (1967) inspired bands such as Los Jaivas and Los Blops, the latter going on to collaborate with the iconic Chilean singer-songwriter Victor Jara on his 1971 album El derecho de vivir en paz. [10] Also Aguaturbia produced psychedelic rock within the Chilean late 60s early 70s context with a female vocalist Denise Corales. Piedra Roja was a music festival in Chile noted as an expression of the hippie counterculture in South America. [11] I was held between 10 and 12 October 1970 in the eastern area of Santiago. Among others Aguaturbia, Los Blops, Lágrima Seca and Los Jaivas played in the festival. Meanwhile, in the Argentinian capital Buenos Aires, a burgeoning psychedelic scene gave birth to three of the most important bands in Argentine rock: Los Gatos, Manal and Almendra. [12]
Caetano Emanuel Viana Teles Veloso is a Brazilian composer, singer, guitarist, writer, and political activist. Veloso first became known for his participation in the Brazilian musical movement Tropicalismo, which encompassed theatre, poetry and music in the 1960s, at the beginning of the Brazilian military dictatorship that took power in 1964. He has remained a constant creative influence and best-selling performing artist and composer ever since. Veloso has won nine Latin Grammy Awards and two Grammy Awards. On 14 November, 2012, Veloso was honored as the Latin Recording Academy Person of the Year.
Gilberto Passos Gil Moreira, is a Brazilian singer-songwriter and politician, known for both his musical innovation and political activism. From 2003 to 2008, he served as Brazil's Minister of Culture in the administration of President Luiz Inácio Lula da Silva. Gil's musical style incorporates an eclectic range of influences, including rock, Brazilian genres including samba, African music, and reggae.
Os Mutantes are an influential Brazilian rock band that were linked with the Tropicália movement, a dissident musical movement during the Brazilian dictatorship of the late 1960s. The band is considered to be one of the main groups of Brazilian rock. Heavily influenced by Anglo-American psychedelic pop, they bridged Brazilian sensibilities together with studio trickery, feedback, distortion, and musique concrète. They released their now-acclaimed self-titled debut album in 1968.
Tropicália, also known as tropicalismo, was a Brazilian artistic movement that arose in the late 1960s. It was characterized by the amalgamation of Brazilian genres—notably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Today, tropicália is chiefly associated with the musical faction of the movement, which merged Brazilian and African rhythms with British and American psychedelia and pop rock. The movement also included works of film, theatre, and poetry.
Latin rock is a term to describe a subgenre blending traditional sounds and elements of Latin American and Hispanic Caribbean folk with rock music. However, it is widely used in the English-language media to refer any kind of rock music featuring Spanish or Portuguese vocals. This has led to controversy about the scope of the terminology.
Brazilian rock refers to rock music produced in Brazil and usually sung in Portuguese. In the 1960s it was known as iê-iê-iê, from the Portuguese transcription of the line "Yeah, yeah, yeah" from the Beatles song "She Loves You". English-language Brazilian rock bands such as Sepultura, Angra, Viper, Krisiun, Far from Alaska and Wannabe Jalva have gained popularity in recent years.
Rita Lee Jones was a Brazilian rock singer, musician and songwriter. She was a member of the band Os Mutantes and a popular figure in Brazilian entertainment. She was also known for being an animal rights activist and a vegan. She sold more than 55 million records worldwide. Her autobiography Rita Lee: Uma Autobiografia was the best-selling non-fiction book of 2017 in Brazil.
Gal Maria da Graça Costa Penna Burgos, known professionally as Gal Costa ( ), was a Brazilian singer of popular music. She was one of the main figures of the tropicalia music scene in Brazil in the late 1960s and appeared on the acclaimed compilation Tropicália: ou Panis et Circencis (1968). She was described by The New York Times as "one of Brazil's greatest singers."
Os Mutantes is the debut album by the Brazilian tropicalia band Os Mutantes. It was originally released in 1968 by Polydor and blends traditional Brazilian music styles with American and British psychedelia. The album includes a cover of The Mamas & The Papas' "Once Was a Time I Thought", translated into "Tempo no Tempo", and a cover of "Le premier bonheur du jour", previously recorded by Françoise Hardy. It was reissued in 1999 on Omplatten Records and again in 2006 by Omplatten's parent company, Universal Records.
Rogério Duprat was a Brazilian composer and musician.
A Divina Comédia ou Ando Meio Desligado is the third album by the Brazilian rock band Os Mutantes. The album was originally released in 1970 and reissued in 1999 on Omplatten Records and again in 2006 by Omplatten's parent company, Universal Records. The title in English means: The Divine Comedy or I Am a Bit Disconnected. "I am a bit disconnected" in this sense means "I feel a little spaced out." The second track features the band imitating California accents. The album as a whole is characterized by a mix of psychedelic and religious imagery.
Piedra Roja was a music festival in Chile noted as an expression of the hippie counterculture in South America. Following the success of Woodstock, a similar music festival was held in Chile between 10 and 12 October 1970 in the eastern area of Santiago. Among others, the following bands performed in the festival: Aguaturbia, Los Blops, Lágrima Seca and Los Jaivas. Similarly to Woodstock, chaos marked the festival, involving problems with sound, drugs and delinquency. The festival showed for the first time that the young population in Chile during that time was a group to reckon with. It also showed the increasing social tension that would end in the 1973 Chilean coup d'état.
The Anthropophagic Manifesto, also variously translated as the Cannibal Manifesto or the Cannibalist Manifesto, was published in 1928 by the Brazilian poet and polemicist Oswald de Andrade, a key figure in the cultural movement of Brazilian Modernism and contributor to the publication Revista de Antropofagia. It was inspired by "Abaporu," a painting by Tarsila do Amaral, modernist artist and wife of Oswald de Andrade. The essay was translated to English in 1991 by Leslie Bary;
Tropicália ou Panis et Circencis is a 1968 collaboration album by artists including Gilberto Gil, Caetano Veloso, Tom Zé, Os Mutantes and Gal Costa. Considered an important record in the Tropicália movement and in the history of Brazilian music, it features orchestral arrangements by Rogerio Duprat and lyrical contributions from Torquato Neto.
Caetano Veloso is the debut solo album by the artist of the same name, released in Brazil in 1968. He had released Domingo the year before in collaboration with Gal Costa. It was one of the first Tropicália efforts, and features arrangements by Júlio Medaglia, Damiano Cozzella, and Sandino Hohagen, as well as an eclectic assortment of influences, demonstrating the "antropofagia" of the Tropicália movement. Sounds from psychedelia, rock, pop, Indian music, bossa nova, Bahian music and other genres appear on the album. It includes the hit songs "Alegria, Alegria", "Tropicália", and "Soy loco por ti, América".
Caetano Veloso is an album released in Brazil in 1969, being the third album by Caetano Veloso, his second solo release.
Ronaldo Lindenberg Von Schilgem Cintra Nogueira, better known as Ronnie Von, is a Brazilian singer, businessman and TV show host.
José Carlos Capinam, better known as Capinam or Capinan, is a Brazilian lyricist and poet. He was active in Brazil's tropicália movement in the 1960s, and he wrote lyrics for various tropicália musicians.
Red Hot + Rio 2 is a collaborative album released June 28, 2011 as part of the Red Hot Organization's series of tribute music records that aim to raise money for HIV/AIDS awareness and prevention. The album aimed to pay homage to the influence of the Tropicália genre and cultural movement that arose in Brazil in the late 1960s. The Tropicália movement was noted for its genre-bending sound that melded influences of 'traditional' Brazilian music like samba, forro, and Bossa Nova with international styles of pop, rock, funk, and soul music. Likewise, Red Hot + Rio 2 included collaborations of some of the Brazilian artists that pioneered the Tropicália movement along with international artists from various genres.
Jorge Ben is the sixth studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was released in November 1969 by Philips Records. The album was his first recording for a major label since 1965 when his first stint with Philips ended due to creative differences.
