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(KENNEDYS)?: Nostalgia, Política E Drama Social Em Uma Turnê Cancelada1 PUNK IS DEAD

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(KENNEDYS)?: Nostalgia, Política E Drama Social Em Uma Turnê Cancelada1 PUNK IS DEAD Associação Nacional dos Programas de Pós-Graduação em Comunicação XXIX Encontro Anual da Compós, Universidade Federal de Mato Grosso do Sul, Campo Grande - MS, 23 a 25 de junho de 2020 PUNK IS DEAD (KENNEDYS)?: nostalgia, política e drama social em uma turnê cancelada1 PUNK IS DEAD (KENNEDYS)?: nostalgia, politics and social drama on a canceled tour Caroline Govari Nunes2 Thiago Pereira Alberto3 Jonas Pilz4 Resumo: O presente artigo busca analisar possíveis efeitos colaterais relativos a reuniões de artistas, sobretudo do gênero rock’n’roll, focando em crises que podem ou não se estabelecer diante da recepção do público. Como corpus principal, elegemos a banda Dead Kennedys e os desdobramentos que ocorreram do anúncio ao cancelamento de sua turnê celebratória de 40 anos, que deveria ter ocorrido no Brasil em 2019. A partir das perspectivas da retromania de Reynolds (2011), intrínseca à cultura pop e, portanto, extensiva ao rock, elaboramos a treta, no sentido de Pereira de Sá (2018), do grupo californiano à luz dos quatro estágios do drama social proposto por Turner (1982), como processo metodológico. Em caráter conclusivo, propomos que a correlação entre revisão, relação e reação traz à tona reflexões sobre passado e presente, instaurando um acontecimento de possível incongruência expressiva e discursiva na história da banda. Palavras-Chave: Dead Kennedys. Nostalgia. Drama Social. Abstract: This paper aims to observe the possible side effects related to artists' reunions, especially of the rock'n'roll music genre, focusing on crises that may or may not be established in the face of the audience reception. Our main observable is the band Dead Kennedys and the following events from the announcement to the cancellation of its 40-year celebratory tour, which should have happened in Brazil in 2019. From Reynolds (2011) retromania theory, which inherent to pop rock culture, we present the, what Pereira de Sá (2018) named as “treta” of the Californian group. As methodological process, we bring the four fases of social drama theory proposed by Turner (1982). In conclusion, we think the interconection between revision, relation and reaction brings up some interesting reflections about the past and the present, in witch we may see some expressive and discursive incongruity in the band's history. Keywords: Dead Kennedys. Nostalgia. Social Drama. Considerações iniciais5 Em abril de 2019, a produtora de shows EV7 Live anunciou que o Dead Kennedys, banda seminal do punk rock estadunidense dos anos 1970, faria uma turnê pelo Brasil no mês seguinte. Como peça de divulgação, usou uma arte elaborada pelo ilustrador brasileiro Cristiano Suarez, que mostra o que se pode entender como uma família (pai, mãe e filhos) 1 Trabalho apresentado ao Grupo de Trabalho Estudos de Som e Música do XXIX Encontro Anual da Compós, Universidade Federal de Mato Grosso do Sul, Campo Grande - MS, 23 a 25 de junho de 2020. 2 Doutoranda no Programa de Pós-Graduação em Ciências da Comunicação da Universidade do Vale do Rio dos Sinos. Mestre em Ciências da Comunicação na mesma instituição. e-mail: [email protected] 3 Doutorando em Comunicação pela Universidade Federal Fluminense. Mestre em Comunicação Social pela Pontifícia Universidade Católica de Minas Gerais. E-mail: [email protected] 4 Doutorando em Comunicação pela Universidade Federal Fluminense. Mestre em Ciências da Comunicação pela Universidade do Vale do Rio dos Sinos. e-mail: [email protected] 5 Este artigo foi realizado com financiamento da CAPES e faz parte dos resultados do projeto PROCAD/CAPES Cartografias do Urbano na Cultura Musical e Audiovisual: Som, Imagem, Lugares e Territorialidades em perspectiva comparada. 1 www.compos.org.br www.compos.org.br/anais_encontros.php Associação Nacional dos Programas de Pós-Graduação em Comunicação XXIX Encontro Anual da Compós, Universidade Federal de Mato Grosso do Sul, Campo Grande - MS, 23 a 25 de junho de 2020 maquiada como palhaços, trajando camisetas da seleção brasileira de futebol; os filhos têm espingardas nas mãos e todos estão sorrindo. À frente deles, tanques de guerra e, aos fundos, uma favela queimando. Há ainda um balão de fala em que um dos meninos diz: I love the smell of poor dead in the morning6. Os signos foram interpretados como uma alusão à parte da população brasileira que elegeu o atual presidente do país, sobretudo na visão de seus opositores. A peça gerou intensos debates nas redes digitais, incluindo os perfis e páginas relativas à banda, muito além do público-alvo do Dead Kennedys ou mesmo de fãs de rock, e foi pauta de diversos periódicos nacionais. Diante de expectativas por uma manifestação, o grupo alegou que não havia sido consultado sobre o material publicitário7 e, em seguida, cancelou a turnê no país8. A atitude gerou uma série de posicionamentos por parte dos fãs brasileiros, especialmente em redes sociais, considerando o episódio um capítulo discrepante na história da banda, da subcultura e do gênero musical ao qual se filia. A cizânia se explica também porque, uma vez que o punk rock — ao menos em uma porção bastante significativa de sua fileira de bandas, artistas, álbuns e discursos — historicamente se construiu como expressão musical do anti- autoritarismo-sistêmico-fascista, do repúdio às censuras, da provocação política, entre outras bandeiras, estabeleceu-se uma espécie de incoerência neste certame. Inclusive, tal incômodo ganhou uma voz ilustre, quando ecoado pelo próprio ex-vocalista Jello Biafra, fora do Dead Kennedys desde 1986, apesar do ex-integrante declarar (com certo sarcasmo) não estar surpreendido9. Um dos possíveis pontos focais da discussão reside aí: como uma banda batizada de Dead Kennedys, que faz dessa chancela uma maneira de capitalizar através de turnês evidentemente saudosistas (já que não se trata de um grupo em atividade plena ou recorrente, lançando discos, etc), poderia se sentir tão melindrada ao ser filiada/anunciada com um pôster que provoca um presidente e seu eleitorado? Em função disso, no presente artigo, propomos examinar um dos possíveis efeitos colaterais relativos ao contexto de reuniões artístico- 6 Tradução nossa: “Eu amo o cheiro de pobres mortos pela manhã”. A frase é uma referência intertextual a um diálogo do filme Apocalypse Now! (1978), de Francis Ford Coppola, onde um personagem, sobre o cenário de guerra no Vietnã, afirma: “eu amo o cheiro de napalm pela manhã”. 7 Disponível em: < https://gauchazh.clicrbs.com.br/cultura-e-lazer/musica/noticia/2019/04/apos-polemica-dead- kennedys-diz-que-cartaz-nao-foi-autorizado-mas-apaga-post-cjutqxoa4007u01rooh6l2jq2.html> Acesso em 17 jan 2020. 8 Disponível em: < https://g1.globo.com/pop-arte/musica/noticia/2019/04/26/dead-kennedys-cancela-show-no- brasil-apos-polemica-com-poster.ghtml > Acesso em 17 jan 2020. 9 Disponível em: <https://oglobo.globo.com/cultura/musica/jello-biafra-fala-sobre-turne-cancelada-dos-dead- kennedys-banda-acabou-em-1986-23666473> Acesso em 17 jan 2020. 2 www.compos.org.br www.compos.org.br/anais_encontros.php Associação Nacional dos Programas de Pós-Graduação em Comunicação XXIX Encontro Anual da Compós, Universidade Federal de Mato Grosso do Sul, Campo Grande - MS, 23 a 25 de junho de 2020 musicais, sobretudo as situadas no rock’n’roll (por suas históricas vinculações políticas, das quais nos debruçaremos posteriormente) sublinhando crises que se estabelecem diante da recepção do público, a partir de noções como nostalgia, retromania (REYNOLDS, 2011), a crença em um ethos transgressor do rock (JANOTTI JUNIOR; PILZ; ALBERTO, 2019) e tensionamentos possíveis reativos à coerência expressiva para jogar luz à percepção de um passado idealizado vs um presente que não o cristaliza, que parece ser uma chave de análise para pensarmos nas dimensões comunicacionais expostas no caso Dead Kennedys. Nessa direção, acionamos o que Koselleck (2006) situa como o espaço de experiência e o horizonte de expectativas para acompanhar algumas das implicações e tensionamentos relativos a essas reuniões nostálgicas e como elas são visibilizadas no ambiente das redes sociotécnicas contemporâneas. Especificamente, questionamos como convergem as expectativas nostálgicas a partir do seu não-atendimento simbólico e prático, na turnê anunciada e cancelada do Dead Kenneyds, e os desdobramentos de agentes envolvidos nas disputas que se desencadearam. Para a análise proposta, organizamos o artigo em três seções. Na primeira, tomamos a noção de revisão, pautados pelas ideia da retromania como uma força central propulsora para a demanda nostálgica na cultura pop. Trata-se de um tipo de (re)arranjo que contextualiza o anseio pelos retornos, pelo consumo do que foi experienciado e, de certa maneira, dá a medida do que é desejado novamente (e talvez do que não é); tanto quando pensamos em audiências saudosas e ansiosas pelo rito do comeback, quanto na perspectiva do artista de retomar períodos de maior sucesso e prestígio, desativados, longínquos ou até mesmo antes inexistentes. Como no caso Dead Kennedys, o revival surge também como a celebração de uma herança compartilhada — no anseio de ser usufruída em comunhão —, o que nos leva, em um segundo momento, a traçar possíveis apontamentos específicos em torno do rock diante deste cenário, sua relação com a política, a partir de seus imaginários solidificados em torno da ideia de um ethos transgressor que permeia determinados gêneros musicais. Nessa direção, tomamos a banda como um histórico veículo punk de aderência explicitamente política, referencial de determinadas práxis,
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