With so many provocations to the status quo, the reactions to Tropicália also became more forceful. In a debate organized by students from the Faculty of Architecture and Urbanism in São Paulo in June 1968, Caetano, Gil, Torquato
and the concrete poets Augusto de Campos and Décio Pignatari, who expressed sympathy for the movement, were booed, pelted with firecrackers and bananas by the hardline university crowd. The confrontation was even more violent during the III International Song Festival at the Teatro da Universidade Católica de São Paulo in September. While defending the song É Proibido Proibir with the Mutantes, which he composed from a slogan of the French student movement, Caetano was assaulted with eggs and tomatoes by the audience. The composer reacted with a speech that turned into a historic happening: “But is this what the youth that says it wants to take power is?” challenged the enraged Bahian.
Another scene of confrontation was the Rio de Janeiro nightclub Sucata, where Caetano, Gil, and Mutantes had a tumultuous run of shows in October. A banner reading “Be marginal, be a hero” (a work by Hélio Oiticica), displayed on stage, and the rumor that Caetano had sung the National Anthem inserting offensive verses against the Armed Forces served as a pretext for the show to be suspended.
Still in October, the tropicalists finally secured a weekly program on TV Tupi. With a script by Caetano and Gil, Divino, Maravilhoso featured all the group members, along with guests like Jorge Ben, Paulinho da Viola, and Jards Macalé. The programs were conceived as happenings, filled with provocative scenes 
. The influence of the movement also became evident in dozens of songs competing in the IV Festival of Brazilian Popular Music, which TV Record began airing in November. The jury’s decision reflected the significant impact of Tropicália just one year after the release of its first works: São São Paulo, by Tom Zé, was the winning song; Divino, Maravilhoso, by Caetano and Gil, came in third; and 2001, by Tom Zé and Rita Lee, was fourth.
Death Decreed
At that time, with the hardening of the military regime in the country, the interferences from the Federal Censorship Department had already become customary; songs had verses cut or were even entirely banned. The decree of Institutional Act No. 5 on December 13, 1968, officially solidified the political repression against activists and intellectuals. The arrests of Caetano and Gil on December 27 precipitated the burial of Tropicália, although its symbolic death had already been announced at the group’s events.
Despite proving to be as explosive as it was brief, with just over a year of official life, Tropicália continued to influence a large part of the popular music produced in the country by subsequent generations. Even in later works by traditional MPB heavyweights like Chico Buarque and Elis Regina, one can find effects of the tropicalist “universal sound”.
Direct or indirect descendants of the movement continued to emerge in later decades, such as singer Ney Matogrosso and the São Paulo avant-garde of the late 70s, which included Arrigo Barnabé, Itamar Assumpção, and Grupo Rumo. Or, in the 90s, the Pernambuco composer Chico Science, one of the leaders of the Mangue Bit movement, which mixed electronic pop with local folk rhythms. Or still a group of composers and performers from Rio de Janeiro, like Pedro Luís, Mathilda Kóvak, Suely Mesquita, and Arícia Mess, who launched a project in 1993 posing as a movement titled Retropicália.
In 1998, the 30th anniversary of the movement would serve as the official theme of the Carnival in Salvador.
This anniversary also prompted the recording of the tribute CD Tropicália 30 Anos, in which the most popular songs of the 
movement were recreated by new generation interpreters from Bahia, such as Carlinhos Brown, Margareth Menezes, and Daniela Mercury, in addition to Caetano, Gil, Tom Zé, and Gal Costa themselves.
Internationally, in recent years, reputable publications like the American newspaper The New York Times and the British magazine The Wire have dedicated extensive articles to Tropicália. An unusual revival, seemingly awakened by the cult of the works of Caetano, Gil, Tom Zé, and Mutantes, which international pop stars like David Byrne, Beck, and Kurt Cobain had been practicing for years.
Source: Carlos Calado from the site cliquemusic.uol.com.br