If we understand collective memory as one of the main instruments that shape our individual and collective identity, we can see the importance given to the dispute over the memory of the 1964 coup. and seek to legitimize many actors who participated in it, aiming to justify their actions not only in the past, but in the current and future conduct of the country. Discourses like these allow newspapers such as O Estado de S. Paulo , Folha de S. Paulo or O Globo to seek to retract their support for the coup, but with restrictions, such as asking the reader to understand that they aimed to protect the legality and democracy, forgetting, conveniently, how they supported exception measures, how they called for more authoritarianism, covered up cases of corruption and masked the harmful effects of a  unequal economic policy. The analysis of these newspapers shows that the argument of a “lost revolution” aims to  create an “Operation-Save-Castle”, as if this had been a “responsible” moment that sought democracy. They aim to change the past by “justifying the actions of civilians and soldiers who supported the coup and the first years of the dictatorship, later becoming opponents or even victims of the regime”.

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The purpose of this work, based on my Master's, is to denounce these means and demystify these "conciliatory" discourses that in no way want the responsibility of those involved . It is mainly intended to show how this relativization allows certain personalities to be elected to high public positions - among them that of President - and that means that supported the dictatorship still influence the course of a young democracy, arranging itself as convinced democrats. - even if your speech has not been altered .

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The work consists, then, in denouncing these repetitive discourses that aim to normalize and soften something that was one of the worst moments in the history of this country by selecting 5  editorials of these newspapers  and two speeches  with a background sound based on the popular Lo-Fi (low fidelity) style – with music created and edited by me. This style is based on the rhythm most used today for studying or relaxing. Its characteristic resides in a nostalgia in which low fidelity is its mark, but at the same time with modern beats of hip-hop, electric-jazz, etc., in a repetitive but calming rhythm, in which the listener immerses himself in the sound without due attention.

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Thus, the parallel with the intention of these discourses propagated by the media is, then, evident: by putting this style we point out the little fidelity of these discourses with reality ; and that its repetitive, nostalgic effect , but at the same time that it wants to be contemporary, aims at the historical and political alienation of current society. It is a denunciation of one of the methods of dispute over current memory . The danger is that the effect is more “nostalgia for the dictatorship”; exclusive and unequal economic policy; the end of human rights and democracy.

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Each track has the description and the correct contextualization of each editorial and historical moment.