The largest favela in Rio, Rocinha, on your left hand side on the hill in the forefront. You may double-clic to double the size of the picture.

The Panorama of Music in Brazil during the 60s

There were six movements in Brazilian music during the 60s; sometimes they merged. Bossa-nova, well-known in the USA, some Brazilians even say bossa was written with the US market in mind. Others say it isn't Brazilian at all. To me it is impossible to disconnect the rhythm and melody of "The Girl from Ipanema" from Ipanema. Sorry, folks, bossa is Brazilian. It just so happens a few Brazilians were singing about the beach, sailboats, meaningless happy stuff. Tom Jobim and Vinicius de Moraes, the diplomat and poet, carry in their music and lyrics the soul of Rio de Janeiro.

From bossa-nova some decided to go political as the times were very much charged with a demand for change. Edu Lobo wrote a few songs at the time ranging in their themes from the lives of fishermen (Arrastão) to small black children (Upa Neguinho) and a play with Vinicius, Zumbi. Zumbi was a slave who rebeled against his masters and founded a republic in Palmares, Alagoas. He and his followers were decimated. I personally find Alagoas to be quite racist. Edu continued writing songs for the theater with Chico Buarque de Hollanda.

In the mid-60s a new era began, that of "festivals." The festivals were organized by different networks and brought fame to Caetano, Gil, Milton Nascimento, in a fierce competition for best placement in somewhat tricky decisons. As Caetano Veloso said in 1968, "The juri is nice (simpático) but incompetent. The audience booed. He continued, "If you are in politics as you are in art, we are done in." and this was Tropicália, reviewed yesterday.

Yet another facet of Brazilian music was rock, with the Jovem Guarda (new guard) lead by Roberto Carlos. Back then he sang a few versions of US songs, and skyrocketed to fame with "Quero que vá tudo pro Inferno," ( I want it all to go to hell) a shock to a still backwards society at a time bikinis were wide and girls were coy.

Music from the northeast, the region where drought is semi-permanent, forcing people to move south, either to Rio or São Paulo, was already making a dent in the national scenario before the 60s, with Luiz Gonzaga and his accordeon. Quite a few followed his path, for political reasons.

The music of the favelas was always the main dish of Brazilian songwriters. In the 60s there was a play with Nara Leão, a lovely bourgeoise, and Zé Keti, a smash hit, "Opinião." The words went on about how the person could get hit, arrested, but would not change his opinion, would not leave the favela.

The romantic depiction of favela and migration to Rio or São Paulo was cute and appealing to the middle class at the time. It is too bad nobody saw what was coming. Without infra-structure in the northeast or in the favelas, the favelas became the home of the urban terror experienced today in Rio and São Paulo. People from the northeast keep on coming; any shack in Rio is better than the poverty left behind. Favelas are here to stay, indeed.

Too bad Doctor Feelgood Bossa-Nova is gone...