"Não desligue o rádio": o cotidiano musical radiofônico em Manaus (1943-1964)

Abstract

The thesis presents the daily musical radiophonic and its interrelations in the artistic formation of the artists. The period analyzed from 1943 to 1964 corresponds to the Nogueira Flowering phase (1943 to 1965). It is a period with many social, political, economic and cultural contexts that are intertwined in the daily life and in the artistic making of the city. During the initial stage, in 1943, Radio Baricea was administered by the private initiative, after a period of military intervention, it was called Radio Baré and to be part of Associated Diaries and Radios of Assis Chateubriand, having privileges in receiving national and its programming based on the radios of the axis of Rio de Janeiro and São Paulo. In that same year, the Battle of the Rubber (1943-1945) happened, where thousands of Northeasterners migrated to the rubber plantations of the Amazon, many of them located in the Amazon, to clear the forest, convinced by the New State for the development of the region and the country, as well as collaborating in international relations and the Good Neighbor policy between Brazil and the United States, bringing raw materials to rubber and jute to supply World War II, from the sweat and the slaughter of the rubber workers in the Amazon. The final mark in 1964, the year the military dictatorship began, a new environment was established in Brazil, new practices were remade and molded, many artists were censored, exiled and persecuted. Radio was a local mediator of culture, as well as generated an economic and social movement, played the role of mediating the integration of forest and city man and allowing sociocultural transformations in the space of the city and in the people who participated in it. Choosing the press is due to it being the main source of information, practically the Radios in Manaus were the main vehicles of mass, because it had a very close and affective relation with the listener of the Amazon. The sources of the research were Jornal do Commercio, Jornal A Crítica, A Gazeta, Revista do Rádio and interviews with artists who participated actively in the period as Flávio de Souza, Katia Maria and Nazaré Lacouth. The representations of the period lead us to understand their expressions, how they were organized, how they constructed the radio musical everyday, understanding that representations are all the characters, institutions and scenes that mediated a musical scene and that provided new changes in music in Manaus. Radio Baré, Radio Difusora and Radio Rio Mar played the daily radio musical, mediating the cultural practices of the city and artistically forming simple people in great stars and stars of local and national music.