Canções e tensões apocalípticas: banda conspiração apocalipse e a eclosão do rock ‘n’ roll em Cajazeiras-PB (1989-2005).

Abstract

This monographic work seeks to problematize the historical emergence of rock 'n' roll in the city of Cajazeiras, Paraíba, at the end of the 20th century. We will investigate the trajectory and circumstances of rock 'n' roll in Cajazeirense society, observing more specifically the performance and cultural production of the band Conspiração Apocalipse, between 1989 (the band's founding year) and 2005 (the year the band took a break temporary in their work). As a result of the complex sociocultural reality of Alto Sertão in Paraíba, in contrast to the regionally established culture, the band Conspiração Apocalipse instrumentalized the emergence of an underground culture that established points of dialogue and distinctions with the counterculture. We will reflect, therefore, the countercultural work of this musical group, seeking to understand the mechanisms by which the band produced new cultural representations marked by social and political positions of criticism and resistance, especially through the album Trágica lógica do absurdo, released in 2003, from which we will analyze the songs and the visual project. We will also use as sources, other records related to the band, such as: videos of the performances, publications in blogs, dissemination pamphlets, articles in newspapers, photographic records and interviews with the members of the band. From a theoretical point of view, the analysis will be anchored in the concepts of Popular Song, instrumentalized by Marco s Napolitano (2002) and Luiz Tatit (2012); Rock ‘n’ Roll, amplified by Paulo Chacon (1982) and Elton John da S. Farias (2013); Counterculture, established by historians Theodore Roszak (1972) and Carlos A. Messeder Pereira (1986). In addition to the historiographical investigations that think of the visualities present on the covers and back covers of the records, discussed by Heron Vargas, Mozahir Bruck (2018) and Heloísa de Araújo D. Valente (2013).