Tropical ginsberg

guerrillas going on, and even the DOPS. 142 Because of its content and
context, the book was highly political.
PanAmerica is a story told by a narrator who is never identified,
except that he is a Hollywood movie director. This narrator interacts
with Hollywood mythological characters like Marlon Brando, Marilyn
Monroe, John Wayne, and Burt Lancaster. He describes, and talks about
situations, with Hollywood myths, as something ordinary, or some day
to day routine activity. What the book did, especially for the
Tropicalistas, was break the apparent geographical impossibility of
being next to these global icons. Because the story was apparently about
banal things that happened between the narrator and these Hollywood
icons, it approximated the reader to this absolutely fantastic world. The
reader saw people, whom he would only see on the screen, acting in
ultra expensive productions, doing their daily routines. This casual
scope through which Agrippino portrays these cultural icons, his
humanization of the myths, inspired the Tropicalistas to (re)interpret
social values through their own vision of anthropophagy, which I will
discuss later on.
5.6 Music: Tropicália, or Panis et Circensis
67
Senti sempre uma imperiosa necessidade de
representar simultaneamente os papéis mais
diversos, e, quanto maior em número fossem eles,
mais eu me sentia estável na minha vida pessoal, e
incorporado à vida universal. [...] Eu sou o grande
poeta e pai de todos os homens; deverei extinguir
todas as possibilidades da forma humana,
distribuindo minha alma nos seus inúmeros
corpos. 143
The artists which dominated the musical sales charts could be
divided into two spheres: left wing artists, and right wing artists. The
majority of left wing artists were rich white intellectuals, who wrote
142 “Departamento de Ordem Política e Social.” “Department of Public and Social Order.” A
government organ whose objective was to control political and social movements of
democratic resistance.
143 Mendes, Murilo Recordações de Ismael Nery. 2 nd ed. São Paulo: Editora Giordano, 1996.
84.