A singularidade da cinquentenária Placar para o contexto histórico do jornalismo esportivo no Brasil

PT. Este trabalho busca trazer uma reflexão acerca da importância da Placar para a construção do jornalismo esportivo no Brasil, fazendo uma sistematização das diferentes fases e seus distintos momentos. Mais longeva revista esportiva brasileira em circulação, o periódico completou, apesar da quase intermitente luta pela sobrevivência, meio século de vida em 2020. Como parte da mídia, também foi ao longo dos anos, de certo modo, um catalisador dos anseios e câmbios sociais e, por isso, esteve sempre em processo de mutação, descrevendo-os e, paralelamente, sendo influenciada pelos contextos das diferentes épocas. Tratamentos sexistas ao futebol de mulheres, como os de “musas” e “gostosas”, por exemplo, atravessaram fases históricas da revista, como as versões Placar Mais (1984), Placar Todos os Esportes (1988) e Futebol, Sexo & Rock and Roll (1995 a 1999). Com o advento do feminismo, esses termos não apenas ficaram para trás como a revista chegou a publicar em 2019 um pedido de desculpas pelo passado misógino e machista. O entrelaçamento histórico também pôde-se observar quando a revista deu voz a jogadores que não se furtavam a declarar seu posicionamento político (no contexto de efervescência em torno da redemocratização do país, nas chamadas “Diretas Já”) ou de discussões em torno da profissionalização do futebol nacional ou denúncias sobre corrupção no esporte. Neste estudo, evidencia-se a existência de uma linha tênue entre a história da sociedade brasileira e a história do futebol no país. Assim, a partir de entrevistas com sete jornalistas que fizeram parte de diferentes fases da revista (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho e o mais longínquo editor, Juca Kfouri), este artigo busca contribuir para a construção histórica de um capítulo relevante do entrelaçamento da cultura esportiva com a cultura social no Brasil através da Placar, uma peça fundamental da história do jornalismo esportivo nacional que se mantém viva. *** EN. This article discusses the importance of Placar magazine in the construction of sports journalism in Brazil. It is based on the systematization of different phases of the magazine and the great moments of its history. Placar is the oldest Brazilian sports magazine published and celebrated its jubilee in 2020, after fifty years of a continuous struggle to ensure its existence.As an actor of the media sphere in Brazil, it has also been a catalyst of social yearnings and changes over the years. Therefore, it has always been in a process of mutation, describing them and, in parallel, being influenced by the social and political contexts. Sexism towards women in soccer, expressed by the use of terms such as "muses" or "hotties", is a part of the magazine’s history, more specifically during the time of Placar Mais (1984), Placar Todos os Esportes (1988) and Futebol, Sexo & Rock and Roll (1995 to 1999). With the rise of feminist movements, these terms were discarded, and the magazine took a stand in 2019 by apologizing for the misogynistic and sexist content published in the past. Content imbued with historical momentums also appears at times when the magazine features players who voice political opinions (for instance during the effervescence of the context of redemocratization, at the time of the first direct elections after the fall of the military dictatorship, the so-called "Diretas Já") or share opinions on the professionalization of Brazilian soccer and the corruption operating within the sport’s institutions. The study highlights how fine is the line between the history of Brazilian society and the history of Brazilian soccer. Based on interviews with seven journalists who contributed to the magazine during different phases of its existence (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho and the veteran editor, Juca Kfouri), the article contributes to the historical construction of an important testimony of the intertwining of sports and social history in Brazil. This relationship is illustrated through the history of Placar, shown as a contemporary and central player in the history of Brazilian sports journalism. *** FR. Cet article propose une réflexion sur l'importance du magazine Placar dans la construction du journalisme sportif au Brésil, à partir d’une systématisation de ses différentes phases et des grands moments de son histoire. Premier magazine sportif brésilien, Placar a fêté son jubilé en 2020, après cinquante années marquées par un combat continuel pour assurer son existence. En tant qu’acteur du monde médiatique brésilien durant toutes ces années, il représente un catalyseur des aspirations et des changements sociaux. Si, d’un côté, il décrit les contextes des différentes époques du pays, il en subit simultanément l’influence, ce qui explique ses constantes mutations. Le sexisme à l’égard du football féminin, énoncé par des termes tels que « muses » ou « bombasses », a ainsi marqué l’histoire du magazine, dans ses versions Placar Mais (1984), Placar Todos os Esportes (1988) et Futebol, Sexo & Rock and Roll (1995 à 1999). Avec l'avènement du féminisme, ces termes ont non seulement été écartés, mais le magazine a été jusqu’à publier, en 2019, des excuses pour son passé misogyne et sexiste. Cette imbrication historique s’observe également lorsque le magazine donne la parole à des joueurs qui n’hésitent pas à donner leurs opinions, qu’elles soient politiques (dans le contexte effervescent de la redémocratisation du pays, au moment des premières élections directes après la dictature militaire, les « Diretas Já ») ou dans le cadre des discussions autour de la professionnalisation du football brésilien et de la corruption dans le sport. Cette étude montre que seule une frontière ténue sépare l'histoire de la société brésilienne de celle de son football. À partir d'entretiens avec sept journalistes qui ont marqué les différentes phases du magazine (Celso Unzelte, Marcelo Duarte, Maurício Barros, Paulo Vinícius Coelho, Ricardo Corrêa, Sérgio Xavier Filho et le vétéran des rédacteurs, Juca Kfouri), cet article contribue à la construction historique d'un chapitre important de l'entrelacement de la culture sportive et sociale au Brésil. Cette relation est ici mise en perspective à partir du magazine sportif Placar, personnage toujours vivant et fondamental de l'histoire du journalisme sportif brésilien. ***

De la copla al rock and roll y el pop: Los pioneros y más influyentes locutores musicales españoles (1960-1965)

A comienzos de los años sesenta algunos locutores se atrevieron a derribar unas barreras musicales y radiofónicas que habían durado veinte años en nuestro país, convirtiéndose en los adalides del rok & roll y el pop y creando nuevas formas de comunicación radiofónica. Mediante el análisis de contenido, la revisión documental, la entrevista en profundidad y el método histórico, se podrá averiguar que fueron el chileno Raúl Matas y el radio de vuelo Ángel Álvarez los más influyentes locutores musicales de este periodo. Analizando su figura y la de su más importante predecesor, Ernesto Lacalle, podremos entender cuán relevantes fueron estas personalidades para la historia de la radio musical y qué legado posterior nos dejaron.

How the Titles of Popular Songs have Changed over the Last 60 Years

Billboard magazine has been keeping track of the 100 hottest (most popular) songs of the year since 1958. Lists of the Hot 100 titles from 1960 to 2019 (6001 titles) were used to study the way in which popular song titles changed over time. Based on significant polynomial regression trends and significant results from a discriminant function analysis, it is concluded that there were three main phases in titles (early, middle, and late) and that these phases differ in predictable manners in terms of stylistic features such as length, abstraction, activity, and the use of the word “love”. Early phase titles are longer, more concrete, more passive, and they do not use the word “love” often; middle phase titles are of medium length, more abstract, of medium activation, and use the word “love” frequently. Titles of the last phase are shorter, more concrete, more active, and do not often employ the word love. A possible factor contributing to these differences is the rise in popularity of rock and roll and hip-hop respectively and their different periods of ascendency.

Sounding Like Liverpool

Cilla Black sang and spoke with a pronounced Liverpool accent. Despite attempts to eliminate it, this quality remained, ultimately becoming a point of identification for listeners. This chapter explores how Black’s voice defied class-marked notions of respectability. Her voice—and persona—were a problem for music critics. Unlike the cool ordinariness embodied by singers like Sandie Shaw, Black communicated a different ordinariness, one rooted in working-class identity, which complicated her position in hip, modern, Swinging London. Her first hit, “Anyone Who Had a Heart,” reveals how this plays out musically. The chapter considers Black in the context of Merseybeat and the ideology of authenticity that characterized rock and roll and places her performances in the context of the mid-1960s boom in popular linguistic and quasi-ethnographic publications purporting to document Liverpool culture. The chapter concludes with reflections on Black’s early TV career and considers how contemporary Liverpool musicians contend with her legacy.

Remembering Rock and Roll with P. P. Arnold

This chapter asks how American singer P. P. Arnold’s vocal performances in the 1960s shaped British popular music production and how she renarrates rock history today. The story of Arnold’s music career reveals how the Black feminine vocality exemplified by Arnold’s style of singing shaped 1960s rock, and how Black women singers navigate experiences of marginalization and narratives of authenticity. Arnold’s recordings for Immediate Records and her work with the Small Faces on songs like “Tin Soldier” reveal how this dynamic manifests musically, while the story of her “lost” album The Turning Tide illustrates the effect that it had on her career. The chapter closes with a section on Arnold’s recent live performances, using Black feminist thought to understand the implications of Arnold’s engagement with 1960s stereotypes of rock authenticity and sexual expressivity in her new work.

Jim Morrison

We have much to learn from the rhetoric of Jim Morrison (and The Doors) and the rhetoric employed by Jim Morrison (and The Doors). Scott Sundvall‘s piece argues that the rhetorical tension of the band partially rests on their still-today reputation as the “band you love to hate,” but also partially on the fact that they (Jim in particular) were also the “band that loved to hate you—the audience and everything about rock and roll.” And there is a positive feedback loop between the two. After all, The Doors in general, Morrison in particular, were about the (rhetorical) meaning in a lack of meaning, insofar as rock and roll itself was dead. Morrison, Sundvall suggests, was the centerpiece of such a rhetorical exchange and comportment. You either love getting your faced shoved into the shit, Sundvall/Morrison argues, or you’re going to get your kicks in before the whole shithouse goes up in flames—in true Nietzschean import. All right!

Revisiting Female Resilience within the Psychiatric in Janice Galloway’s Fiction

The aim of this article is to analyse the fractures in the performance of normative discourses of identity in Janice Galloway’s novel The Trick Is To Keep Breathing (1989) and her short story “and drugs and rock and roll”, included in her latest collection Jellyfish (2015). Drawing on the thematic dialogue between the two works, set in Scotland, this article focuses specifically on their protagonists’ processes of healing following a period of depression, and the urban spatial representation of these experiences. In order to do so, it examines various practices associated with psychiatrics that isolate and dehumanise citizens and lead to the creation of a sharp social dichotomy as regards wellbeing. Finally, the article approaches the spatial embodiment of these characters, as well as the creation of alternative spaces inside medical institutions as part of a continuum in Galloway’s exploration of female resilience.