Indústria cultural e lutas simbólicas na MPB dos anos 1970: o caso do Sambão-Joia
In the middle of the 1970s, appears, in the literature of journalists and popular music critics, the term “sambão-joia”, used to label a kind of samba considered as bad taste, standardized, alienated, massed. These representations remind us to the problem of this new repertory legitimation, once the...
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| Formato: | Artículo publishedVersion Pesquisa acadêmica Descripción |
| Lenguaje: | Portugués |
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Universidade de São Paulo. Escola de Comunicações e Artes
2010
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| Acceso en línea: | http://www.revistas.usp.br/extraprensa/article/view/77222 http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=br/br-065&d=article77222oai |
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| Sumario: | In the middle of the 1970s, appears, in the literature of journalists and popular music critics, the term “sambão-joia”, used to label a kind of samba considered as bad taste, standardized, alienated, massed. These representations remind us to the problem of this new repertory legitimation, once the artists connected to this segment appear during a period when, by one side, the cultural industry consolidates itself in Brazil, making the consecration of a cultural product happens more thru the market, but, on the other side, they are still evaluated by some legitimate parameters, crystallized on the 1960s. In this purpose, we try to observe in some “sambistas” of the period, like the couple Antonio Carlos e Jocafi, Benito di Paula and Martinho da Vila, in what manner their songs talk to this conflict for the cultural consecration, contributing for a better understanding of the differences of the cultural industry consolidation in Brazil. |
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