Influential underground names like No Violence, Safari Hamburguers, Abuso Sonoro, Point of No Return, Dominatrix, Calibre 12 and Nitrominds pushed the scene forward.
In other parts of Brazil, bands including DFC and Raimundos from Brasília, Devotos do Ódio from Recife, Pastel De Miolos, Bosta Rala from Bahia and Mukeka di Rato, Deltree and Dead Fish from Espírito Santo gained recognition.
Nonetheless, São Paulo was heavily influenced by lesser-known bands such as Speedtwins from the Netherlands, as well as by earlier protopunk artists such as The MC5, Iggy & The Stooges and The New York Dolls.
With his band Restos de Nada which began playing in 1978, Viscaino promoted revolutionary ideas and brought young people together against the Brazilian military regime.
Both bands were important to the early days of Brazilian punk, offering a new alternative to the MPB and progressive rock artists that dominated the country's music scene at the time.
Partially due to Sampaio's personal taste, British bands like Discharge and Disorder as well as Swedish and Finnish hardcore soon became the main reference for São Paulo punks, being listened to almost immediately after the records came out in their countries of origin.
Named O Começo do Fim do Mundo ("The Beginning Of The End Of The World") it included most of the more active bands from São Paulo city and the neighboring ABCD Region.
São Paulo also had a thriving post-punk scene in the early 1980s with bands like Agentss, Mercenárias, Ira!, Voluntários da Pátria, Akira S, Fellini, Smack and others playing often around the city.
Started by a gang of skateboarders from the working class Campo Grande district, Rio punk revolved around bands such as Coquetel Molotov, Descarga Suburbana and Eutanásia.
In the southern region of the country, the city of Porto Alegre had developed a significant scene by the mid-1980s, with locals Replicantes achieving national success, a major record deal and even some FM radio airplay.
Now including popular subgenres such as Pop Punk, Anarchopunk, straight edge and riot grrrl, the new decade was marked by big underground names such as No Violence, Safari Hamburguers, Abuso Sonoro, Execradores Point of No Return, Dominatrix, Calibre 12, Nitrominds and others in São Paulo, as well as DFC and Raimundos from Brasília, Devotos do Ódio from Recife, Bosta Rala and Pastel De Miolos from Bahia, Pinheads and Anões de Jardim in Curitiba, Mukeka di Rato and Dead Fish from Espírito Santo, DreadFull, Refer in Belo Horizonte and Pastilhas Polegarinas in Uberaba and so on.
Grindcore, noisecore and other related genres were also big, specially in the early 1990s, mainly through the efforts of underground fanzines and tape-trading, with bands like Rot, Trucidator from Bahia, Under Threat and others achieving some international impact.
Gang violence, arguably the main problem facing Brazilian punk in the 1980s, diminished to a point where it was almost unnoticeable for years, which allowed larger numbers than ever before to attend shows and participate in the scene.
In the first years of the new millennium, Brazilian thrashcore and related styles became very popular, both in and outside the country, with bands like Discarga, I Shot Cyrus, Infect, Histeria Coletiva, Sick Terror and others, touring and having records released in Europe, North America and other parts of the world.