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| 1977 |
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This must have been a year in which the dream, definitively ended. While the utopias of the flower power era disappeared, Gal Costa masterfully kept alive the embers of the generation, which would accept the new times, the changing winds, the new ‘new things.’ In truth, the whole world appeared to be annoyed at continuing to be a dreamer. Another reality entered the picture, ideological craftiness aside. And the album Caras e Bocas translated, thus, changes, impasses, and positioning of ambushes, signaled in the initial show of this proposition, called Com a Boca no Mundo. With the album, there is a turnabout. Gal, from the jacket, in photographic rehearsal of Marisa Alvarez Lima, suggested an atmosphere of passé-composed hippie: hats, cigarette holders, second hand clothing stores, hair, faces, mouths. The alchemists were in the hallway. Today, the album leaves it clear that it signaled ruptures. Gal would never be the same. Nor the planet.
In Brazil, President Geisel discussed liberalization "slow, gradual, and restricted," which would carry with it - starting only with his successor, also general João Figueiredo - amnesty, political re-openness, and the creative furor of the following decade. Fire, song, and desire. On the stages in Rio de Janeiro emerged the group Asdrúbal Trouxe o Trombone, whose show Trate-me Leão, directed by Hamilton Vaz Pereira, formed a generation of actors who now set the direction for the renewal of television language: there were among the newcomers Regina Casé, Luiz Fernando Guimarães, and Patrícia Travassos.
Os Filhos de Kennedy, in São Paulo, a production directed by Sérgio Britto, corresponded with the professional success of the theater of that period. On television, Globo Network broadcast a sequence of soap operas today considered classics: A Escrava Isaura, Estúpido Cupido and O Astro. In real life, the most modern car was the Chevette, from Chevrolet. On the stages, Gilberto Gil presented Refavela, and Caetano Veloso, Bicho, albums that related chords of the travels the two had made to Nigeria and Costa do Marfim.
From one moment to the next, fat and solitary, the king of rock, Elvis Presley, died on the 16th of August. Director Bruno Barreto at the Festival de Gramado, won the Kikito prize for the film Dona Flor e seus Dois Maridos, starring Sonia Braga (on the album Caras e Bocas the actress was praised, indirectly, on the song Tigreza, composition which well untangled that time of observations). In Europe, the great scandals, which would change the navel of rock forever: the release of the LP Never Mind the Bollocks Here’s The Sex Pistols, a landmark of punk. The North American market released a less cutting but also devastating explosion: Saturday Night Fever, with a débuting John Travolta. From Johnny Rotten to Travolta, the West went on to move hip, sex, and attitudes as never before. Shouting to the world (Com a boca no Mundo).
The phonographic industry of 1977 in enjoyment: The Bee Gees, thanks to the soundtrack of Saturday Night Fever, become billionaire artists. The Swedish group Abba beat out The Beatles for most records sold. Keith Richards of The Rolling Stones was imprisoned for possession of heroin. The group B-52’s made its début in the interior of Georgia, simultaneous with the campaign New York, New York, created to invigorate The Big Apple. Incidentally, New York, on June 20, 1977, dealt with a blackout that lasted 25 hours. With the lights returned, nothing kept multitudes from attending the first Star Wars, by George Lucas, or Faye Dunaway in Network. Far away, in the Middle East, Anwar Saddat becomes the first Arab leader to visit Israel, in the government of Menachem Begin, politician quoted later by Caetano in the composition Ele me Deu um Beijo na Boca, in 1981.
Go, take off, gather everything you can carry. The year 1977 is, along with all that, a renovation of the voltage in the career of Gal Costa.
Eduardo Logullo
translation: Kirsten Weinoldt
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