On June 17, 2013, an estimated 10,000 to 20,000 people participated in a largely peaceful protest in the center of Curitiba, Brazil. The demonstration was initially festive, resembling a street carnival, with various groups defending their specific causes, such as opposing the World Cup, criticizing President Dilma Rousseff, advocating for marijuana legalization, and other social issues. The protest was organized by several groups, including the Frente de Luta pelo Transporte de Curitiba, with support from other organizations. The event took a different turn towards the end of the night when protesters invaded the Palácio Iguaçu, but the situation was controlled by the riot police. The article describes the progression of the protest, the involvement of social media, and the eventual confrontation with the police, ending with a note on the aftermath of the protest.

The article reflects on the life and legacy of Amy Winehouse, drawing parallels with other iconic musicians like Billie Holiday. It discusses the struggles these artists faced with addiction and personal demons, yet highlights their profound impact on music. The piece touches on Amy's contribution to the revival of soul music, her unique style, and the influence she had on other artists. It also recounts her final performances in Brazil, noting the irony of 'Rehab' being the worst-received song during her shows, signaling a shift in her personal and artistic journey.

The article discusses the contemporary Brazilian music scene, questioning the legitimacy and relevance of the term 'Nova MPB' (New Brazilian Popular Music). It reflects on the genre's evolution and the reluctance of modern artists to be labeled under traditional terms. The piece includes perspectives from various artists and researchers, highlighting the influence of past musical movements like Tropicália and the use of technology by today's musicians. The article also touches on the challenges faced by artists in the current cultural landscape, emphasizing the desire for their music to be heard beyond labels.

In an exclusive interview with Gazeta do Povo, Felipe Hirsch discusses his latest theater production 'Trilhas Sonoras de Amor Perdidas', which is set to premiere at the Festival de Curitiba. The play, which uses Curitiba as its backdrop, explores personal and universal themes through the intimate relationship with music, particularly focusing on mixtapes. Hirsch reflects on the personal nature of this work and its connection to his previous success with 'A Vida é Cheia de Som e Fúria'. The article also highlights the career of actor Guilherme Weber and the Sutil Companhia's national recognition in theater.