A vida não se resume em festivais: um estudo das representações sobre Geraldo Vandré na imprensa brasileira (1966-2009)

Abstract

This work focuses on the representations on the singer and composer Geraldo Vandré whose reports were released by the Brazilian press between 1966 and 2009. Departing from the hypothesis that the Case Geraldo Vandré presents itself as an enigma in the social imaginary of Brazilians, some effort has been made to understand how its construction through the written press took place. Through the reconstruction of his course, there has been realized the incident of several events that turned him into a myth: his attachment to the engaged art of the 60`s; the composition of the song Para não dizer que não falei das flores (Not to say that I did not talk about the flowers), popularly known as Walking , at a moment of worsening of the crash between the military government and the left; the following pursuit to the composer, his exile, his traumatic return to Brazil and the premature close of his career. All this history has never been explained satisfactorily, producing a mystery around what would have happened to Vandré during his exile and principally on his return to Brazil, when he was subjected to a questioning by the Federal Police. The press was aware of the commercial potentiality of this mystery (or enigma) and took control of Vandré`s history, publishing several matters that were used with variation of intensity, bearing a sensationalist approach. The publications exploit, among others, subjects related to the use of the torture and the brainwashing techniques applied by the soldiers, the supposed madness of the artist, the negation of his artistic past, his relation with supporters of the right wing and the matter of the copyright of his work. Bending over the cultural and musical history of the country in the 60`s and 70`s, the research also brings about elements that illustrate the drama of adaptation which those who were exiled after the promulgation of the AI-5 and returned in the decade of 1970 had to face, as well as the evocation of the memory of social sequels to the military dictatorship