In June 2013, millions poured into the streets across Brazil to protest a wide range of grievances, from the shoddy system of public transportation to political corruption. These demonstrations registered as one of the largest nationwide mobilizations in the country’s recent history. However, many conflicting interpretations of these events exist. One that is currently in vogue among political observers on the more orthodox left is the connection between these protests and the rise of the far right: the unfocused demands and rejection of political leadership among protestors supposedly caused the impeachment of President Dilma Rousseff and the subsequent rise of far-right President Jair Bolsonaro in 2018. This narrative portrays these protests as a singularity of depoliticized manifestations, with São Paulo taking center stage. While there may be some correlation between these protests and the delegitimization of Rousseff’s government, this interpretation too readily reduces these events into a simple causality, thereby...
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December 2024
Book Review|
December 01 2024
Review: Distortion and Subversion: Punk Rock Music and the Protests for Free Public Transportation in Brazil (1996-2011), by Rodrigo Lopes de Barros
Rodrigo Lopes de Barros.
Distortion and Subversion: Punk Rock Music and the Protests for Free Public Transportation in Brazil (1996-2011)
. Liverpool
: Liverpool University Press
, 2022
. 348 pages.
Cibele Moura
Cibele Moura
Cornell University
Cibele Moura is a doctoral candidate in music and sound studies at Cornell University. Much of her research examines the political stakes of popular music-making, listening practices, and knowledge production in Latin America. She is the co-editor and co-translator of A luta pelo nacional popular na Bolívia (Editora da PUCRS, 2024).
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Journal of Popular Music Studies (2024) 36 (4): 152–155.
Citation
Cibele Moura; Review: Distortion and Subversion: Punk Rock Music and the Protests for Free Public Transportation in Brazil (1996-2011), by Rodrigo Lopes de Barros. Journal of Popular Music Studies 1 December 2024; 36 (4): 152–155. doi: https://doi.org/10.1525/jpms.2024.36.4.152
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