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This leftist faction vigorously rejected anything - especially Tropicalismo - which they perceived as being tainted by the corrupting influences of Western capitalist popular culture.
The politico-artistic tensions between leftist students and the Tropicalistas reached a climax in September , with Caetano Veloso's watershed performances at the third International Song Festival, held in the auditorium of Rio's Catholic University, where the audience not surprisingly included a large contingent of left-wing students.
Veloso had won a major song prize at the previous year's Festival, when he was backed by an Argentinian rock band, and although his unconventional performance caused some initial consternation, he managed to win over the crowd and was feted as a new star of Brazilian popular music.
By late , however, Veloso was fully immersed in the Tropicalia experiment, and his performances, which were expressly intended as provocative art "happenings", caused a near-riot.
In the first round of the competition on 12 September, Veloso was initially greeted by enthusiastic applause, but the mood quickly changed when the music started.
Veloso came on dressed in a bright green plastic tunic, festooned with electrical wires and necklaces strung with animal teeth, and his backing band Os Mutantes were also dressed in similarly outlandish attire.
The ensemble launched into a barrage of psychedelic music, played at high volume, and Veloso further outraged the students with his overtly sexual stage movements.
The crowd reacted angrily, shouting abuse at the performers and booing loudly, and their fury was only exacerbated by the surprise appearance of an American pop singer, John Dandurand , who joined Veloso on stage and grunted incoherently into the microphone.
After such a powerful negative reaction, Veloso was unsure whether to appear in the second round on 15 September, but his manager convinced him to go on, and this chaotic performance was recorded live and later released as a single.
The students in the audience began hissing as soon as Veloso's name was announced, even before he had even taken the stage.
The booing and jeering was soon so loud that Veloso struggled to be heard over the din, and he again deliberately taunted the leftists with his sexualised stage actions.
Within a short time the performers were being pelted with fruit, vegetables, eggs and a rain of paper balls, and a section of the audience expressed their disapproval by standing up and turning their backs to the performers, prompting Os Mutantes to respond in kind by turning their backs on the audience.
Infuriated by the students' reaction, Veloso stopped singing and launched into a furious improvised monologue, haranguing the students for their behaviour and denouncing what he saw as their cultural conservatism.
He was then joined by Gilberto Gil, who came on stage to show his support for Veloso, and as the tumult reached a crescendo, Veloso announced he was withdrawing from the competition, and after deliberately finishing the song out of tune, the Tropicalistas defiantly walked offstage, arm-in-arm.
On December 27, , Veloso and Gil were arrested and imprisoned by the military government over the political content of their work.
After two months, the two were released and subsequently forced to seek exile in London , where they lived and resumed their musical careers until they were able to return to Brazil in The movement's emphasis on art clashed with the media's need for mass appeal and marketability.
This was a protest to the reinstated oppression of Brazil's military rule in the s, and an additional cause for media pushback.
The movement was becoming increasingly leftist, and pushed for artistic output. The nationalists were primarily college students, and the uproar culminated with screams and hurling garbage at Veloso.
The nationalist-participant group's resistance of the movement was nothing new, but this incident was the tipping point of their opposition.
On December 27, , at the peak of government repression, Caetano Veloso and Gilberto Gil were arrested, detained, and exiled to London for two and a half years.
However, the approaches of the movement were ever-shifting and did not stick to one central idea. Throughout the s until her death in , the singer and actress Carmen Miranda made Hollywood musicals and performed live.
Before first appearing on Broadway in , she had a successful career in Brazil throughout the s and was known as the "Queen of Samba.
Caetano Veloso has said Carmen Miranda was a "culturally repulsive object" for his generation. Scholar Christopher Dunn says that by embracing Carmen, Veloso treats her as "an allegory of Brazilian culture and its reception abroad.