Celly, Meire and Regiane: media experiences of three São Paulo rock girls
This article, which results from research funded by FAPESP, analyzes the trajectories of the singers Celly Campelo, Meire Pavão&am...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2012
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12876 |
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| author | Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz |
| author_facet | Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz |
| author_sort | Morelli, Rita de Cássia Lahoz |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | Música Popular em Revista; Vol. 1 No. 1 (2012); 58-74 |
| description | This article, which results from research funded by FAPESP, analyzes the trajectories of the singers Celly Campelo, Meire Pavão and Regiane on disc and on television of São Paulo, between the 1950s and 1960s, with emphasis on their experience as women and as artists in the context of a musical movement markedly male, as was the rock of São Paulo before the “Jovem Guarda”. In professional and artistic decisions, that three singers have suffered similar influence of male figures who some how also protected them from the risks still associated at that time to work on radio and television by women. Celly was influenced by his brother, the singer and composer Tony Campelo. Meire Pavão has suffered influence of his father, Theotônio Pavão, composer and guitar teacher, and of his brother, the singer and composer Albert Pavão, authors of almost all the songs that she came to save in discs. Regiane, other student of the same Professor Pavão, left his orbit of influence after the contract with the Young seal, directed by the producer Miguel Vaccaro Neto, only to fall under the orbit of influence of him. The three singers left their careers more or less prematurely, and this article works with the hypothesis that they have done so because of strong existing dissonance between music and moral formation they received as girls in the 1950s and the model of "deviated youth" that was associated with the musical rhythm to which they were engaged. |
| first_indexed | 2025-10-08T14:28:44Z |
| format | Online |
| id | ojs-article-12876 |
| institution | Universidade Estadual de Campinas |
| issn | 2316-7858 |
| language | por |
| last_indexed | 2025-10-08T14:28:44Z |
| publishDate | 2012 |
| publisher | Universidade Estadual de Campinas |
| record_format | ojs |
| spelling | ojs-article-128762020-09-16T16:17:39Z Celly, Meire and Regiane: media experiences of three São Paulo rock girls Celly, Meire y Regiane: experiencias mediáticas de tres rock girls paulistas Celly, Meire e Regiane: experiências midiáticas de três meninas do rock paulista Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Rock paulista Relações de gênero Trajetórias artísticas São Paulo’s rock Gender relations Artistic trajectories Rock paulista Relaciones de género Trayectorias artísticas This article, which results from research funded by FAPESP, analyzes the trajectories of the singers Celly Campelo, Meire Pavão and Regiane on disc and on television of São Paulo, between the 1950s and 1960s, with emphasis on their experience as women and as artists in the context of a musical movement markedly male, as was the rock of São Paulo before the “Jovem Guarda”. In professional and artistic decisions, that three singers have suffered similar influence of male figures who some how also protected them from the risks still associated at that time to work on radio and television by women. Celly was influenced by his brother, the singer and composer Tony Campelo. Meire Pavão has suffered influence of his father, Theotônio Pavão, composer and guitar teacher, and of his brother, the singer and composer Albert Pavão, authors of almost all the songs that she came to save in discs. Regiane, other student of the same Professor Pavão, left his orbit of influence after the contract with the Young seal, directed by the producer Miguel Vaccaro Neto, only to fall under the orbit of influence of him. The three singers left their careers more or less prematurely, and this article works with the hypothesis that they have done so because of strong existing dissonance between music and moral formation they received as girls in the 1950s and the model of "deviated youth" that was associated with the musical rhythm to which they were engaged. Este artículo, fruto de una investigación financiada por la Fapesp, analiza las trayectorias de las cantantes Celly Campelo, Meire Pavão y Regiane en el disco y la televisión de São Paulo, entre las décadas de 1950 y 1960, con énfasis en su experiencia como mujeres y como artistas. en el contexto de un movimiento musical marcadamente masculino, como el rock paulista pre-Jovem-Guarda. En sus decisiones profesionales y artísticas, los tres fueron influenciados de manera similar por figuras masculinas que de alguna manera también los protegieron de los riesgos todavía asociados en ese momento con el trabajo de mujeres en radio y televisión. Celly fue influenciada por su hermano, cantante y compositor Tony Campello. Meire Pavão fue influenciado por su padre, Theotônio Pavão, compositor y maestro de guitarra, y por su hermano, el cantante y compositor Albert Pavão, autores de casi todas las canciones que llegó a grabar. Regiane, alumna del mismo profesor Pavão, dejó su órbita de influencia tras contratar el sello Young, dirigido por el productor Miguel Vaccaro Neto, solo para caer bajo su órbita de influencia. Las tres abandonaron sus carreras de manera más o menos prematura, y la hipótesis aquí es que lo hicieron debido a la fuerte disonancia entre la formación musical y moral que recibieron de niñas en la década de 1950 y el modelo de “juventud descarriada”. que estaba asociado con el ritmo musical al que se dedicaban. Este artigo, que resulta de pesquisa financiada pela Fapesp, analisa as trajetórias das cantoras Celly Campelo, Meire Pavão e Regiane no disco e na televisão de São Paulo, entre as décadas de 1950 e 1960, com ênfase em sua experiência como mulheres e como artistas no contexto de um movimento musical marcadamente masculino, como foi o rock paulista pré-Jovem-Guarda. Em suas decisões profissionais e artísticas, as três sofreram influência semelhante de figuras masculinas que de alguma forma também as protegiam dos riscos ainda associados naquela época ao trabalho no rádio e na televisão por parte de mulheres. Celly foi influenciada por seu irmão, o cantor e compositor Tony Campello. Meire Pavão sofreu influência de seu pai, Theotônio Pavão, compositor e professor de violão, e de seu irmão, cantor e compositor Albert Pavão, autores de quase todas as músicas que veio a gravar. Regiane, aluna do mesmo Professor Pavão, saiu de sua órbita de influência após contrato com o selo Young, dirigido pelo produtor Miguel Vaccaro Neto, apenas para cair sob a órbita de influência deste. As três abandonaram suas carreiras mais ou menos prematuramente, e aventa-se aqui a hipótese de que o tenham feito em razão da forte dissonância existente entre a formação musical e moral que receberam como meninas na década de 1950 e o modelo de “juventude transviada” que estava associado ao ritmo musical a que se dedicavam. Universidade Estadual de Campinas 2012-10-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artigo avaliado pelos Pares Texto Text Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12876 10.20396/muspop.v1i1.12876 Música Popular em Revista; Vol. 1 No. 1 (2012); 58-74 Música Popular em Revista; Vol. 1 Núm. 1 (2012); 58-74 Música Popular em Revista; v. 1 n. 1 (2012); 58-74 2316-7858 por https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12876/8242 Brazil; 1950-1960 Brasil; 1950-1960 Brasil; 1950-1960 Copyright (c) 2012 Rita de Cássia Lahoz Morelli |
| spellingShingle | Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Morelli, Rita de Cássia Lahoz Rock paulista Relações de gênero Trajetórias artísticas São Paulo’s rock Gender relations Artistic trajectories Rock paulista Relaciones de género Trayectorias artísticas Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title | Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title_full | Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title_fullStr | Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title_full_unstemmed | Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title_short | Celly, Meire and Regiane: media experiences of three São Paulo rock girls |
| title_sort | celly, meire and regiane: media experiences of three são paulo rock girls |
| topic | Rock paulista Relações de gênero Trajetórias artísticas São Paulo’s rock Gender relations Artistic trajectories Rock paulista Relaciones de género Trayectorias artísticas |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/12876 |
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