33 1/3 Author Q&A: A closer look at Tropicália

Welcome to our latest author Q&A, where we chat to the writers behind new and upcoming 33 1/3 books! Today Ana Leorne tells us more about her addition to Genre: A 33 1/3 Series, Tropicália. She shares what it was like to write the book and the songs she recommends you give a listen if you’re new to the genre.

How would you describe your book in one sentence?

A portrait of the genre that helped reinvent Brazil’s cultural identity.

What drew you to this genre?

I’m a big fan of intersections between music and politics, especially when the link is not as obvious or direct as the one you find in protest songs, for example.

Also, I’ve been living abroad for a while now and have friends all over world, so I get particularly annoying whenever I fangirl about stuff I’ve been listening to since I was a kid (like Gal Costa, who was a constant presence on my parents’ turntable).

People usually end up asking me for playlists, album advice, documentaries, books—and, in the case of Tropicália, I realized there was not a lot of material available in English. You know when you want to recommend a book and there is no such book? Well, the solution is—you write that book.

If you were introducing someone to Tropicália for the first time, what would you recommend they listen to?

If you listen to the introductory playlist at the end of the book and the albums I discuss more extensively in the second chapter (Tropicália ou Panis et Circencis, Caetano Veloso’s, Os Mutantes’, and Gal Costa’s debuts, and Gilberto Gil’s and Os Mutantes’ sophomore LPs), you already get a good feel of what the movement was all about.

But if you want to explore it further, I’d recommend Tom Zé’s Grande Liquidação, Jorge Ben’s 1969 self-titled album, Nara Leão’s 1968 LP, Os Mutantes’ A Divina Comédia, Gal Costa’s 1969 Gal, and also Caetano Veloso’s and Gilberto Gil’s 1969 albums.

What was it like writing the book? Did you learn anything new about the genre that you didn’t know going into the project?

It was so much fun. I learned so much and got into new stuff as a result. Sometimes I’d dive so deep into a particular album or artist that I’d be singing the same song day and night while cooking dinner, brushing my teeth, doing my shopping.

Writing a book is like entering a portal—you never look at something the same way again.

One of the things I enjoyed exploring the most (and had previous little knowledge of) was the universe of writer and lyricist Torquato Neto. I read his poems, saw his movies, spent HOURS browsing through footage and photos and audio clips.

Are there any interesting stories that didn’t make it into the final book?

There’s always interesting stuff that doesn’t make the final cut, but the essential points are all there.

If I was writing a more extensive volume, I’d probably develop more the roles of Tom Zé, Jorge Ben, Rogério Duarte. I’d also add more film stuff, more information about the albums and movies done in exile, and more neo-Tropicália material. But I consider the final book to be a solid start for anyone wanting to get into the genre, since it already includes lots of clues about what to explore next.

If you got the chance to write a 33 1/3 on one other album/genre – what are you picking?

There are so many! I’d love to write one on Enigma’s MCMXC a.D., or maybe Manu Chao’s Clandestino, or even go for an iconic soundtrack like Easy Rider, which is one of my all-time favourites.

My research interests usually revolve around counterculture, sociopolitics, visual studies, psychology, and religion (understanding the impact of catholicism, umbanda, and candomblé in Brazilian everyday life is important to fully grasp Tropicália, for example), so I’m actually preparing something new along these lines that I’ll hopefully be able to unveil soon.