Jovem Guarda (Brazilian 60s RnR/Beat/Pop/Psych) | Evelution of Genré

Jovem Guarda was the Brazil Beat and Pop movement of the early to the late sixties. Like I explored it already in southern Europe (Yé-Yé), the Netherlands (Nederbeat) and Japan (Group Sounds), also Brazils' youth coveted the UK & US sound that conquered the world rapidly. While Brazilian music and lifestyle imitations and interpretations started at the end of the 50s with petticoats, jukeboxes, oldtimers, wild Twist dances, Teen Pop and Rock'n'Roll, 1963 (the birth year of J.G.) held a surprise that lead to an initial kickstart of what was to become "ie, ie, ie", the first official umbrella term to describe the new movement of teen excitement in this new sound. Like Yé-Yé the name leans on the Beatles' "Yeah Yeah Yeah" in their song "She Loves You". The Beatles indeed were a central idol and role model in the Brazil movement. The artistic and subcultural hype resulted in a quite popular TV show set up and first aired in 1965 in São Paulo. Due to the national success, it became a leading source for a whole teen movement of hipness and style. The show even trendsetted popular slang phrases used among young people. Extravagant and colourful cloth and a laid back cool attitude established, just as it did in swinging London. Representing and commercialising the movement at the same time, "Jovem Guarda" as a term even replaced the previous "ie, ie, ie". The J.G. show host Roberto Carlo among Erasmo Carlos and Wanderléa, all famous musicians, played interpretations of the Anglo-Saxon hits of the day. Among those three in-house artists of the TV show, national bands got invited to play in front of millions of viewers... Read more
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Garage Rock (US 60s) | Evolution Of Genré

As simple as the musical structure of Garage rock is as much is to say about it. So where o begin? To understand the whole movement and the spectrum of what grew out of it, it is necessary to observe the social background. Like all generations have their break and emancipation from with their parents and oldish models of society, life and morals, the US 60s youth was not exceptional. A spirit of possibility and self-empowerment was in the air. Instruments and gear became affordable in the late 50s. The shift from shellac to vinyl and economic cheaper record studio equipment caused an explosion of availability in music. The expotential post-war birthrate did its part too. Imagine a youth placed in a cultural-timely setting of contrastly felt peace and wealth, with the drive to become independent and get rid of the old generations' oppression, to encounter the previous mentioned facilities of expression and self-efficacy. Guess what happened? Right, they took the chance to play their versions of the new 3-chord pattern music, garage pioneers set up as a blueprint... Read more
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