Boa Noite, Afaste O Sofá Que Hoje É Festa, E Festa De Arromba

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Boa Noite, Afaste O Sofá Que Hoje É Festa, E Festa De Arromba UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE SOCIOLOGIA PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA Jovem Guarda: A construção social da juventude na indústria cultural (Versão Corrigida) Marcelo Garson Braule Pinto Tese de doutorado apresentada ao Programa de Pós-Graduação do Departamento de Sociologia da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de Doutor em Sociologia Orientador: Prof. Dr. Fernando Pinheiro Filho São Paulo 2015 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE SOCIOLOGIA PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA Jovem Guarda: A construção social da juventude na indústria cultural d (Versão Corrigida) Marcelo Garson Braule Pinto Tese de doutorado apresentada ao Programa de Pós-Graduação do Departamento de Sociologia da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de Doutor em Sociologia Orientador: Prof. Dr. Fernando Pinheiro Filho De acordo São Paulo 2015 À Sol, Ricardo e Ana Luiza, por estarem sempre comigo, mesmo quando ausentes de corpo. Agradecimentos À minha família, por todo o apoio que me concederam desde o início de meu percurso até o fim desta tese, não só carinho e estímulo, que vêm do Rio e de Brasília, mas ajudas técnicas de todo o tipo, principalmente nos gráficos e tabelas que não seriam possíveis sem o auxílio de meu pai. Ao meu orientador Fernando Pinheiro, que aceitou este tema e contribuiu com valiosas observações ao longo da pesquisa. Aos professores Sergio Miceli e Marcos Napolitano que, assim como Fernando, me acolheram na USP, participaram de minha qualificação e pacientemente responderam a minhas intermináveis dúvidas e questionamentos. Ao João Freire Filho e Marcelo Ridenti, por estarem nesta banca e pelas contribuições a este trabalho através de aulas, textos e conversas. À Simone de Sá, grande amiga e orientadora, com quem tenho um débito incalculável pela iniciação no mundo acadêmico, que também contou com o grande apoio de Leonardo de Marchi. Ao CNPq pela concessão da bolsa de doutorado. A todos os uspianos e também membros de outros institutos, que estiveram no grupo de música e sociologia que coordenei, seja como debatedores seja como convidados. Cito, especialmente, Érica Magi e Lucas Souza, presentes desde a fundação, que ajudaram decisivamente para este trabalho ganhar forma. Da mesma forma, agradeço a José Roberto Zan e a seu grupo sediado na Unicamp pela acolhida, dentre os integrantes cito Adélcio Camilo e Rafael Tomazoni por gentilezas de toda sorte e enriquecedoras lições que só músicos poderiam fornecer. Aos colecionadores, pesquisadores e fãs da Jovem Guarda e da música popular: Lucia Zanetti, Orlando Rodrigues, Ayrton Mugnaini, Roberto Rockmann, Ricardo Pascalle, Antônio Aguillar e em especial Samuel Oliveira, que compartilharam seus acervos e conhecimentos comigo. Aos entrevistados e seus familiares, pela gentileza de me receberem. Aos funcionários da Biblioteca Mário de Andrade pelo profissionalismo e agilidade. À equipe da Camargo Cópias, em especial ao Fabricio, o ás do scanner, pelos serviços prestados. À Ana Paula por todo o carinho e ajuda técnica neste turbulento fim de tese. À Ana Rebel, Germana, Milton, Paula e todos os amigos do Rio pelos breves, mas prazeirosos encontros. Ao Andrei, Cleyton, Massimo e Tânia por terem me aturado e tornado esta jornada possível e, por último, ao Rodrigo, que lá de cima está olhando todo o meu nervosismo e dando boas gargalhadas. Resumo Investigar o surgimento da ideia de música jovem no Brasil é o objetivo deste trabalho. Para tanto, privilegiamos os anos 60, momento em que a categoria de jovem, tornava-se hiper-representada na música, na televisão e na imprensa escrita, processo que culmina com a estreia do programa de TV Jovem Guarda, em agosto de 1965. Comandado por Roberto Carlos, Erasmo Carlos e Wanderléa, tratava-se de um apanhado de performances musicais que tinham a juventude como nicho de mercado privilegiado, cruzando influencias que iam dos Beatles à música italiana. Em pouco tempo, seus artistas se tornaram ídolos nacionais. Reconhecíveis em programas de TV, filmes, ensaios fotográficos, reportagens, sessões de entrevistas e até artigos de consumo como calças, botas, bonecos e lancheiras, em pouco tempo seus artistas tornaram-se não só ídolos nacionais, mas modelos de reconhecimento, identificação e conduta. Tratava-se do esforço inédito de construir uma cultura juvenil ao redor do consumo de música. O protagonismo da mídia é evidente em todo o processo, não somente por articular um mercado de bens culturais, mas sobretudo por fixar os quadros de referência que permitem enxergar, enquadrar e interpretar o jovem. Isso explica o foco desta tese na ação da indústria cultural. Ao lidar com uma grande diversidade de fontes – letras de canções, capas de disco, material de imprensa, artigos de consumo, pesquisas de mercado, entrevistas, registros audiovisuais –, em sua maioria primárias, estuda-se os diversos e conflitantes significados que forjaram a ideia de uma cultura juvenil no Brasil, desde sua enunciação em meados da década de 50, até seu amadurecimento na década seguinte. Sendo a música jovem o nosso campo de investigação privilegiado, o objetivo central é analisar a representação social da juventude construída pela Jovem Guarda e articulada no interior dos veículos de comunicação de massa. Para alcançá-lo, interessa-nos investigar: que representação é essa; como ela é assumida por agentes e instituições; através de que linguagem se afirma; a qual universo simbólico se refere e como é confrontada por narrativas concorrentes. Trabalhando na interseção entre a sociologia da música e a sociologia da juventude, exploramos em que medida a juventude se torna uma categoria central para pensar a música e a música, uma categoria central para pensar a juventude. Palavras Chave: música popular, juventude, Jovem Guarda, rock and roll, indústria cultural Abstract The aim of this work is to investigate the emergence, in Brazil, of the ideia of a music for young people. This brings us to the 60´s, a moment when the category of youth began to dominate album covers, song lyrics, press statements, and a good number of advertising materials. One of this process’s landmarks was the Jovem Guarda (Young Guard) television show launched in September 1965 and led by Roberto Carlos, Wanderléa and Erasmo Carlos. Consisting of a number of musical performances, it targeted youth and gathered influences ranging from the Beatles to Italian pop music. Soon, its artists become national idols; their image multiplied in TV shows, films, photo essays, reports, interviews and even consumer goods like pants, boots, dolls, lunch boxes etc. It is through these platforms that singers were constructed as models of youth identity, putting forward an unprecedented effort to build a youth culture around music consumption. In this equation, the media played a decisive role by offering not only items for young consumers, but primarily ways of viewing, framing and interpreting youth. That explains the focus of this thesis on the cultural industry. By dealing with a wide range of materials – song lyrics , album covers , newspapers, consumer goods , market research statistics, interviews , audio-visual records -, most of them primary sources, we study the various and conflicting meanings that forged the idea of a youth culture in Brazil since its enunciation in the mid- 50 until its maturity in the next decade. As the music is our privileged field of research, the main objective is to analyze the social representation of youth built by the Jovem Guarda and articulated within the mass media. To reach our aims, we are interested in investigating: the nature of this representation, how artists and institutions adopted it, the language used to affirm it, the symbolic universe it refers to and how it is confronted by competing narratives. Working on the intersection between the sociology of music and the sociology of youth, we explore in which way the youth became a central category to think about music, and music, a central category to think about youth. Keywords: popular music, youth, Jovem Guarda, rock and roll, cultural industry Introdução .................................................................................................................................... 1 Parte 1 – Música Jovem no Brasil? (55-60) ............................................................................ 12 Capítulo 1 – Música popular e segmentação de mercado ................................................... 14 ................................................................................................................................................. Capítulo 2 – As diferentes faces da juventude ................................................................... 25 2.1 – “A mocidade esnobe que vive depois do túnel”: a geração coca-cola ...................... 28 2.2 – O especialista entra em cena ..................................................................................... 33 2.3 – Os jovens transviados "clássicos" ............................................................................. 36 2.4 – Dos playboys aos playboys transviados .................................................................... 43 2.5 – Dançarinos e Suburbanos: os roquianos .................................................................... 49 Capítulo 3 – Celly Campello
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