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Decade of 1970

1970s (Trio Elétrico Marajó) - Photo / Reproduction: Book History of the Carnival of Bahia
1970s (Trio Elétrico Marajó) - Photo / Reproduction: Book History of the Carnival of Bahia

The 70's made the culmination of Salvador's Carnival the Praça Castro Alves, where all people met and allowed themselves to do everything. It was a time of cultural, social and sexual liberation. Until this time, electric trios were more allegorical vehicles, ornamented almost exclusively with loudspeaker sedan mouths. The amplifiers were made with valves and, on top of the trio, there were only musicians with the Bahian guitar, the bass and the guitar, and the figure of the vocalist did not yet exist.

Still in the 70s, the 'Novos Baianos' dared and put some speakers in the trio, in addition to transistorized equipment. Baby Consuelo emerged singing with a microphone attached to a guitar cable. The carnivalesque composition 'Colombina' by Armando Sá and Miquel Brito is officially recognized as the Carnival anthem of Salvador. As if so much change was not enough, an even more radical one occurred at Carnaval 74, with the appearance of the block 'Afro Ilê Aiyê'. The entity that started the process of re-Africanizing the party contributed to the appearance of afoxé 'Badauê' and the revival of afoxé 'Filhos de Gandhy'. It was the beginning of the cultural growth of the Salvador Carnival; who started to emphasize conflicts and to protest against racism.

In 1975 the electric trio 'Dodô e Osmar' celebrated the silver jubilee and definitely returned to the carnival scene after 14 years away. The trio returned with a new formation including the musician Armandinho, son of Osmar, and changed the name to 'Trio Elétrico de Armandinho, Dodô and Osmar'. In 1976, the electric trio 'Novos Baianos' appeared, introducing the Bahian swing together with the 'Trio de Armandinho'. In the following year, the schools of both that participated in the Carnival of Salvador stopped parading. Despite the trio blocks having emerged at the beginning of the decade, it was in 1978 that the 'Camaleão' started overcoming the current amateurism among the first trio blocks, representing a milestone in their emergence at the Salvador Carnival.

It was in this same year that the use of the mask, before the joy and grace of the revelers, began its disappearance process. An indispensable prop to complement the carnival fantasies, the mask that in our life became better known as grimace, also served to hide the shame of a euphoric face from known and indiscreet looks. In 1979, the meeting between afoxé and the electric trio took place, with the emergence of the song 'Assim pintou Moçambique', by Moraes Moreira and Antônio Risério, thus triggering the whole process of 'electrified' afoxé of Bahian music. current.

1970s (Trio Elétrico Marajó) - Photo / Reproduction: Book History of the Carnival of Bahia
1970s (Trio Elétrico Marajó) - Photo / Reproduction: Book History of the Carnival of Bahia
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