CHASING THE SUN: OASIS, BRITPOP, POLÍTICA E A UNIÃO DO REINO PELA MÚSICA

Autores

  • Luiz Alberto Moura CECS - ICS - Universidade do Minho

Palavras-chave:

Oasis, Britpop, Reino Unido, Manchester, New Lad

Resumo

O presente artigo propõe lançar um olhar sobre a trajetória da banda inglesa Oasis no período entre 1993 e 1997 e as suas implicações para a música e a cultura britânica. Lançaremos mão da biografia musical para contextualizar o grupo dentro do momento sociopolítico, econômico e cultural da época, assim como, sob o prisma do território enquanto palco de formações culturais, destacaremos a cidade de Manchester como fundamental na composição do som, da atitude e da imagem da banda. O intervalo investigado é marcado, na música nacional, como um momento de reafirmação de identidade e de pertencimento ao Reino Unido, o que acabou por constituir o movimento conhecido como Britpop. A rejeição ao grunge de Seattle, EUA - até então dominante no início dos anos 1990 - é primordial para entender a ignição do Britpop e a leva de bandas da época. A partir de 1997, o Britpop entraria em decadência e, paradoxalmente, com a volta do Partido Trabalhista ao poder no Reino Unido. Visualizaremos o Oasis enquanto banda ‘símbolo’ do ‘New Lad’, nova representação do machismo alimentado pela mídia local. Para tal, partimos de uma metodologia combinando análises acadêmicas, periódicos, documentários, entre outros. Com isso, vislumbramos uma visão ampla do que foi o fenômeno Oasis, do seu protagonismo no Reino Unido entre 1993 e 1997 e suas implicações sociais e políticas, no ano em que os shows em Knebworth, Inglaterra, completam 25 anos, “a última grande demonstração da música”[1] antes da internet.

[1] GALLAGHER apud WHITECROSS, 2016.

Referências

BEAUMONT, Mark. Blur and Oasis’ big Britpop chart battle – the definitive story of what really happened. New Musical Express, ago. 2019.

BENNETT, Andy. “Village Greens and Terraced Streets”: Britpop and representations of Britishness’. Young, v. 5, n. 4, p. 20–33, 1997.

BENNETT, Andy; PETERSON, Richard A. Music Scenes: Local, Translocal, and Virtual. [S.l: s.n.], 2004.

BLACK, Johnny. The Big Bang. Mojo, p. 16–19, jan. 2021.

BORTHWICK, S., & MOY, R. Indie: The politics of production and distribution. Popular Music Genres: An Introduction, p. 176–196, 2004. Disponível em: <http://www.jstor.org/stable/10.3366/j.ctvxcrbm0.15>.

BOTTÀ, Giacomo. The city that was creative and did not know : Manchester and popular music, 1976-97. European Journal of Cultural Studies, v. 12, n. 3, p. 349–365, 2009.

BOWES, Richard. Some Might Say. The Definitive Story of Oasis. London: This Day in Music Books, 2020.

CAVANAGH, David. Creation Records Story - My magpie Eyes are Hungry for the Prize. London: Virgin Books, 2000.

CROSSLEY, Nick. Networks of sound, style and subversion. The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975-80. Manchester: Manchester University Press, 2015.

DAMMS, Colin. Where Were You While We Were Getting High ? How Manchester Became The Republik of Mancunia. Merge, v. 2, p. 1–23, 2018.

DOWER, John. Live Forever – The Rise and Fall of Britpop. . England: British Broadcasting Corporation (BBC) , 2003

ENGELS, Friedrich. A situacao da classe trabalhadora na Inglaterra. São Paulo: Global, 1985.

FEIXA, Carles. De jóvenes, bandas e tribus. Barcelona: [s.n.], 1999.

FRASER, Benjamin; FUOTO, Abby. Manchester , 1976 : Documenting the urban nature of Joy Division ’ s musical production. v. 1, n. 2, p. 139–154, 2012.

GILBERT, Pat. Hey Yoy, Get Out of My Cloud. Mojo, p. 22–31, jan. 2021.

GUERRA, Paula. Sonhos Pop: Criação, aura e carisma na música moderna portuguesa. Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.18, n.1, jan./abr. 2015., v. v.18, n. n.1, 2015.

HARKEMA, Reginald. Hail Britpop! . Canada: Netflix. , 2021

HARRIS, John. Don’t look back in anger: the simultaneous rise of Blair and Britpop marked a brief moment of unity between culture and politics. So where did it all go wrong? (New Statesman (1996). [S.l: s.n.]. Disponível em: <http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsglr.A102138568&site=eds-live>, 2003

HARRIS, John. The Last Party: Britpop, Blair and the Demise of English Rock. London: Harper Perennial, 2004.

HASLAM, Dave. Manchester, England. The story of the pop cult city. London: Fourth State, 1999.

HESMONDHALGH, David. British Popular Music and National Identity’,. In: MORLEY, D (Org.). . British Cultural Studies. Geography, Nationality, and Identity. Oxford: Oxford University Press, 2005. p. 273–286.

HESMONDHALGH, David. Indie: The Institutional Politics and Aesthetics of a Popular Music Genre. Cultural Studies, v. 13, n. 1, p. 34–61, 1999.

HEWITT, Paolo. Getting high: The adventures of Oasis. London: Dean Street Press, 2016.

JONES, Rhian E. Music, politics and identity: from Cool Britannia to Grime4Corbyn. Soundings (13626620), n. 67, p. 50–61, 2017. Disponível em: <http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=127495050&site=eds-live>.

LAMACQ, Steve. Going Deaf for a Living. London: Omnibus Press, 2019.

LUEDERS, Claudia. Britpop ’ s Common People – National identity , popular music and young people in the 1990 ’ s. 2016. 2016.

LUMSDEN, Ross. A Rhetorical Analysis and Interlinked Aspects of Culture that affected the Success of the Musical Band Oasis in the UK and US. 2008. 2008. Disponível em: <https://spiral.lynn.edu/etds/21>.

LYNSKEY, Dorian. ‘Flattened by the cocaine panzers’ – the toxic legacy of Oasis’s Be Here Now | Oasis | The Guardian. The Guardian, 6 out. 2016. Disponível em: <https://www.theguardian.com/music/2016/oct/06/flattened-by-the-cocaine-panzers-the-toxic-legacy-of-oasiss-be-here-now>. Acesso em: 12 jul. 2021.

MACONIE, Stuart. Blur 3862 Days. The Official History. London: Virgin, 1999.

MACONIE, Stuart. Who Do You Think You Are Kidding, Mr. Cobain? Select Magazine, p. 61–71, 1993.

MAFFESOLI, Michel. O Tempo das Tribos : O declinio do individualismo nas sociedades de massa. 2a Edição ed. Rio de Janeiro: Forense Universitária, 1998.

Manchester City Council. Disponível em: <https://www.manchester.gov.uk/>.

MCGEE, Alan. Creation Stories. Riots, raves and running a label. Londres: Sidgwick & Jackson, 2013.

MILLWARD, Peter; WIDDOP, Paul; HALPIN, Michael. A ‘Different Class’? Homophily and Heterophily in the Social Class Networks of Britpop. Cultural Sociology, v. 11, n. 3, p. 318–336, 2017. Disponível em: <http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=124840993&site=eds-live>.

MORLEY, Paul. The Sex Pistols play the Lesser Free Hall: all of indie Manchester sees the future of music. The Guardian, London, 14 jun. 2011. Disponível em: <https://www.theguardian.com/music/2011/jun/14/sex-pistols-lesser-free-hall>.

NAVARRO, Betsabe. Creative industries and Britpop: the marketisation of culture, politics and national identity. Consumption, Markets & Culture, v. 19, n. 2, p. 228–243, 2016. Disponível em: <http://search.ebscohost.com/login.aspx?direct=true&db=edswss&AN=000370079800004&site=eds-live>.

NAVARRO, Betsabé. Creative industries and Britpop : the marketisation of culture, politics and national identity. Consumption, Markets & Culture, v. 19, n. 2, p. 228–243, 2016. Disponível em: <http://search.ebscohost.com/login.aspx?direct=true&db=edb&AN=112814442&site=eds-live>.

NIVEN, Alex. Oasis’ Definitely Maybe. London: Bloomsbury Publishing Plc., 2014.

NIVEN, Alex. OASIS – “Some Might Say” | FreakyTrigger. Disponível em: <http://freakytrigger.co.uk/popular/2013/06/oasis-some-might-say/#more-25031>. Acesso em: 23 jun. 2021.

O’CONNOR, Danny. Upside Down: The Creation Records Story. . England: Document Produtions Ltd. , 2010

RACHEL, Daniel. Don’t look back in anger: The rise and fall of Cool Britannia, told by those who were there. London: Trapeze, 2019.

REDHEAD, Steve. The End-of-the-century Party: Youth and Pop Towards 2000. Manchester: [s.n.], 1990.

ROBB, John. The North Will Rise Again : Manchester Music City 1976-1996. London: Aurum, 2010.

SAVAGE, Jon. England’s Dreaming Sex Pistols and Punk Rock. London: Farber & Farber, 1991.

SAVAGE, Jon. Letters From London: Britpop.’. London: Artforum, 1995.

STRATTON, Jon; BENNETT, Andy (Org.). Britpop and the English Music Tradition. [S.l.]: Routledge, 2016. v. 1.

VERMEULEN, P. The 1990s. In: BOXALL, PETER (Org.). . The Cambridge Companion to British Fiction: 1980–2018. Cambridge: Cambridge University Press., 2019. p. 32–46.

WARD, David. Hacienda fans rave at plan for luxury flats. The Guardian, London, 2002.

WELSH, Irvine. Trainspotting. London: Vintage, 1993.

WHITECROSS, Max. Supersonic. England: Lorton Entertainment. , 2016

WHITELEY, Sheila. Trainspotting: The Gendered History of Britpop. In: STRATTON, JON; BENNETT, ANDY (Org.). Britpop and the English music tradition. 1. ed. London: Routledge, 2016. . Disponível em: <https://www.taylorfrancis.com/books/edit/10.4324/9781315570372/britpop-english-music-tradition-jon-stratton-andy-bennett>.

WILKINSON, Roy. In The Beginning. Mojo, p. 10–15, fev. 2021.

YARM, Mark. Everybody loves our town: A history of grunge. New York: Crown Archetype, 2011.

Downloads

Publicado

2021-12-01

Como Citar

Moura, L. A. (2021). CHASING THE SUN: OASIS, BRITPOP, POLÍTICA E A UNIÃO DO REINO PELA MÚSICA . TROPOS: COMUNICAÇÃO, SOCIEDADE E CULTURA (ISSN: 2358-212X), 10(2). Recuperado de https://periodicos.ufac.br/index.php/tropos/article/view/5249

Edição

Seção

Dossiê - Esse tal de Roque Enrow