Questão 2625329

Leia o texto e responda as questões 34 a 36.

What people talk about

Jovem guarda, soap opera and the kitsch

By the end of 1960's, soap operas were still in its first years, though successfully, as the dramaturgy genre that would infatuate and amalgamate Brazil for the next decades. Popular Music, for sure, absolutely reigned with professionalism and formal refinement level upset through the century and it had achieved its maturity on the former decade. Nevertheless, incredible as it may seem, it lacked a real substantial public. The successful discs barely achieved 40.000 copies sold. The great popular music festivals, even at the prime time, achieved few millions of spectators (although they were infatuated by what they were watching), the maximum television ratings of that time. The soap operas the TV Globo had just started producing, and since 1969, transmitted through satélites all over Brazil, meant more than just technological News: they also represented the possibility of communicating to dozens of millions of people at the same time.

Joining the extent and popularity soap operas to the quality of Brazilian music meant the proverbial egg of Columbus, who expected somebody to make it stood up. The fact happened not only through one person, but by a simultaneous confluence of intuition of men from the music, discs and television world.

lts impossible to affirm which one had emerged first. On TV Globo, Walter Clark and José Bonifácio de Oliveira Sobrinho, or Boni, broadcasting directors, had the idea of inviting the actor and filmmaker Daniel Filho to be the soap operas head diretor of the Carioca new broadcasting station. The plots were then, storylines imported from Cuba, or ftom Mexico, swashbuckler epics, romantic melodramas, almost medieval. Daniel wanted to modernize them, bring them to the Brazilian contexto, make them contemporary compositions of classical music which matched the scene environment. For the modern soap operas, a new Brazilian music would be necessary.

At Philip Recordings (nowadays Universal recordings), the young producer and songwriter Nelson Motta, was listening to his boss, André Midani, as he talked about the thousands of discs that he sold in Mexico, where he was the Capitol diretor, with soundtracks made especially to soap operas. Then, Nelson had na insight : if this is happening in Mexico, he could imagine the same happening in Brazil, with the powerful Brazilian music totally available, and Daniel Filho, whom he was friend, that was anxious to modernize soap operas and make them more Brazilian.

Ao se referir ao final da década de 60, o autor traz algumas considerações a saber:

I - A telenovela ainda engatinhava e com pouco sucesso.

II - A música popular reinava absoluta, com um nível de profissionalismo e de requinte formal.

III - Os grandes festivais de música popular atingiam um grande público ajudando a consolidar a música popular.

Pode-se afirmar que: