Last year, 2024, marked the 40th anniversary of the singular British indie rock band, The Smiths. The Smiths played a pivotal role in representing and articulating the experiences of the UK working class through their music, lyrics, and cultural impact. They remain a significant cultural touchstone, particularly for those from working-class backgrounds. Meanwhile, across the Atlantic, 2025 marks the 40th anniversary of the Brazilian rock band Legião Urbana. Known for their songs rich in social commentary and emotional depth, Legião Urbana created anthems that resonate with Brazil’s collective consciousness.
In the early 1980s, Manchester, England, faced significant economic challenges due to the decline of traditional industries. It had been known as a centre for manufacturing and textiles. High unemployment rates, particularly fueled social disquiet during the Thatcher era. Despite these economic hardships, Manchester cultivated a vibrant and diverse cultural scene, particularly in music, which provided emotional solidarity. The city became a hub for emerging bands and artists, with venues like The Hacienda playing a pivotal role in shaping the local music scene. The 'Manchester sound,' fused post-punk, indie rock, and elements of electronic dance music. Manchester’s young musicians were forever looking outwards.
The Smiths’ early performances in small venues around Manchester quickly gained attention, their unique sound and Morrissey’s charismatic stage presence captivated. They mixed original songs with subversive covers like ‘I Want a Boy for My Birthday’ by the 60s American girl group The Cookies. They joined Rough Trade, and although their first single 1983’s 'Hand in Glove,' didn’t chart in the UK, the single reinforced The Smiths position as the most promising act in a busy indie scene.
On the other side of the Atlantic, 1985 was a pivotal year for Brazil, marking the end of the military dictatorship and the beginning of a new democratic era, driven by the Diretas Já movement—a civil campaign demanding direct presidential elections. The anos de chumbo (years of lead) were defined by authoritarianism, human rights abuses, political persecution, and censorship. Yet, this dark period also witnessed a cultural resurgence. Diretas Já played a crucial role in Brazil’s return to democracy, ultimately leading to the election of the country’s first directly elected president in over two decades during the summer of 1985.
Amidst this backdrop, Brazilian rock mirrored the political and social climate, drawing influences from punk rock, post-punk, English new wave, metal, and the rebellious spirit of the Tropicália movement. The music captured the anxieties of youth and their desire for change, with thought-provoking lyrics that reflected the struggles of the era. It gave a voice to the voiceless youth during the Brazilian military dictatorship, addressing both the psychological scars of the past and the naïve hope and possibility of adolescence.
1980s Brazilian rock, also known as Brock, is considered the golden age of the genre. Its inception can be traced to a clash between the release of Gang 90 e as Abusurdettes' 1981 single 'Perdidos na Selva' and Blitz’s 1982 debut album 'As Aventuras da Blitz 1.' The genre quickly spread across Brazil, with bands emerging in cities like Rio de Janeiro, São Paulo, and Brasília.
In the 1960s, Brazil experienced a transformative moment when the capital moved from Rio de Janeiro to Brasília, symbolizing a new era of modernization, development, and national identity. The move aimed to reduce the influence of Rio de Janeiro’s political and economic elites and to redistribute the population. After leaving adolescence, Brasília began to search for its place in the world. Freed from the insecurities of youth, as a new adult in their early twenties, the city’s residents were eager to prove their capabilities. This cultural moment, rooted in the first two decades of life, was shaped by two revolutionary ideas that took root at the University of Brasília (UnB) and the racial diversity fostered by the embassies and the thousands of migrants who had settled there. In this environment, a cultural explosion was taking shape. Among military officials, politicians, teachers, and public servants, a new class of artists began to emerge—on clubs, in bars, and basements.
In 1981, the Brazilian punk band Aborto Elétrico (1978-1981) disbanded, giving way to Legião Urbana and Capital Inicial, with the same band members splitted. They were part of the Turma da Colina, a group of young Brazilians who gathered in a residential area of the University of Brasília (UnB), known as Colina, to socialize and listen to rock music. Many of them would go on to form influential bands that left a lasting mark on the national music scene. Around 1978, André Pretorius, the son of the South African ambassador, joined the group, bringing with him a rich cultural and political background. During one of his trips to Europe, André brought back several punk rock albums from that era. In a time when access to international music was limited—due to the scarcity of information, magazines, and materials about the global music scene—his arrival was a game-changer. To make matters more difficult, the censorship of the military dictatorship further hindered the radio's ability to play international music.
Back in England, Morrissey’s The Smiths lyrics explored themes of working-class life, alienation, boredom, and the struggles of ordinary people. Their songs featured sharp social commentary, addressing issues such as unemployment, poverty, and societal norms. This resonated deeply with working-class audiences, who found reflections of their own struggles in the music. The Smiths emerged at a time when working-class voices were largely underrepresented in popular music, offering a much-needed platform for their experiences.
Frontman Morrissey often sang about the experiences of ordinary people in a way that resonated deeply with many working-class individuals, giving voice to their concerns and emotions. The band's music and image became iconic within working-class communities in the UK, with their distinctive sound—marked by Johnny Marr's jangly guitar riffs and Morrissey's emotive vocals—capturing the zeitgeist of the time and continuing to resonate with audiences today. This is further emphasized by their choice of name, which was simple and represented the everyman.
The Smiths played a significant role in shaping the cultural identity of working-class youth in the UK during the 1980s. Through their music, they offered a sense of belonging and solidarity to many who felt marginalized or overlooked by mainstream society. Their influence extends far beyond their own era, with numerous artists and bands citing them as a major source of inspiration, including Oasis, Radiohead, Blur, The Stone Roses, Arctic Monkeys, R.E.M., Belle and Sebastian, and The Libertines.
The Smiths' influence has permeated not only British indie music but also the broader global music landscape, as evidenced by how they’ve inspired new generations of artists, including Legião Urbana. Similarly, Legião Urbana's impact can be seen in how it continues to resonate with modern Brazilian youth, particularly in a time when the country faces new social and political challenges.
In Brazil, Legião Urbana was shaped by a blend of foreign influences, including Joy Division, The Smiths, The Beatles, The Clash, The Cure, Ramones, Joni Mitchell, Gang of Four, Talking Heads, Sex Pistols, The Jesus and Mary Chain, Public Image Ltd, and Bob Dylan, among others, along with the influence of Tropicalia. Tropicalismo, or Tropicália, emerged in the 1960s as a cultural and musical movement, gaining prominence against the backdrop of the military dictatorship. It served as a bold form of artistic resistance, fusing traditional Brazilian music with avant-garde, psychedelic, and rock influences.
Artists associated with Tropicália sought to challenge the political and cultural status quo by embracing themes of cultural hybridity, diversity, and social critique. Through irony, satire, metaphors, and ambiguity in their lyrics, they skillfully subverted censorship and addressed controversial topics, raising awareness about the underlying horrors of the time—an act of veiled resistance. This laid the groundwork for Legião Urbana’s unique ability to blend political activism with emotional depth, as their songs often conveyed the paradox of societal progress and personal despair.
In 1984, just a few months later, Legião Urbana signed a contract with EMI. By the end of the year, they began recording their first studio album, which was released in 1985. The band quickly gained significant attention, and within six months of the album's release, they became a driving force in the development of young Brazilian music. Legião Urbana was widely acclaimed by both the public and critics. Although their lyrics were often serious, they avoided reducing their messages to the simplicity of a pamphlet. Alongside their socially and politically charged tracks, they also produced several love songs that have become landmarks in the history of Brazilian music. The band introduced iconic characters like Eduardo, Mônica, and São João de Santo Cristo—figures now deeply embedded in Brazilian identity and culture. Additionally, one of their lyrics from the song "Meninos e Meninas" became notable as a commentary on the singer’s bisexuality, transforming into an anthem of resistance during the AIDS pandemic and in the fight against LGBT+phobia.
Legião Urbana’s fourteen-year journey was marked by turbulence, including the vocalist’s struggles with addiction, internal conflicts, and controversies over plagiarism. The band ultimately ended with the death of its frontman, Renato Russo, who was HIV-positive. Yet, Russo’s lyrical brilliance transcended time and generations, remaining relevant and resonant. His work connects a divided Brazil—a nation shaped by socio-economic divides, political fractures, and deep cultural differences since colonial times, from Indigenous nations to modern states. Today, social media and algorithms create an illusion of connection, often amplifying divisions through echo chambers and cancel culture. Privilege and lack of accessibility further widen these divides, even between generations.
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