Caetano Veloso and Tropicalia: How a Musical Genre Gave Voice to Disenfranchised People

The present work examines the social resonances of the musical genre Tropicalia during the Brazilian military dictatorship (1964-1985) as a tool to convey political messaging in a highly censored society. In opposition to the government, musicians such as Caetano Veloso used their craft to foster political ideas and provide their audiences the possibility of a better future, free from the oppressions of their lived realities. Veloso achieved this through norm-defying musical strategies with unconventional instrumentation, controversial lyrics, and hybridization of genres. This thesis considers three critical songs from the movement’s first album, Caetano Veloso (1968), by the musician of the same name. “Tropicalia,” “Alegria, Alegria,” and “Soy loco por ti, América” criticize Brazilian racial tensions, the military government’s repression, and U.S. imperialism throughout Latin America. The examination of the lyrical, instrumental, and formal content of the music serves as the backbone and through-line of the thesis. Veloso’s lyrics reference popular Brazilian icons, events, and symbols to paint a portrait of Brazil that is aware of its history of social and racial oppression as well as the country’s enduring struggles for freedom. As such, this thesis incorporates an interdisciplinary approach, bringing the fields of history, cultural studies, and musicology into conversation. Using these methods, I consider the impacts that both the musician and Caetano Veloso had on the consciousness of Brazilians by giving a voice to the marginalized and oppressed population, most often the black and brown populace. Overall, Caetano Veloso and Tropicalia: How a Musical Genre Gave Voice to Disenfranchised People exhibits the multi-faceted power that music holds as a tool to address current issues, express dissent, provide hope, and unite people.