já está nas bancas a “carta capital” 514 (data de capa 24 de setembro de 2008), com o seguinte perfil, originado de entrevista produzida no rio de janeiro em 8 de setembro de 2008. aqui, no blog-irmão deste, há um texto-irmão deste, talvez oposto, talvez complementar, talvez um pouco de cada coisa.

(obs.: o texto “zelão e seu violão” não chega a mencionar, mas o nome de batismo de sérgio ricardo é joão lufti, e ele é filho de um sírio nascido em damasco.)

ZELÃO E SEU VIOLÃO
As aventuras e desventuras de Sérgio Ricardo com a Bossa Nova, a canção de protesto e a vida na favela

POR PEDRO ALEXANDRE SANCHES


Grito, mas ninguém vem me escutar/ canto, ninguém me acompanha/ batuco e não vejo ninguém sambar. Os versos se adequavam ao vozeirão caymmiano de Sérgio Ricardo em 1979. E se ajustam com precisão ainda hoje, quando, aos 76 anos, o cantor e compositor regrava a canção Lá Vem Pedra num disco de retorno, batizado Ponto de Partida (Biscoito Fino).

Ele é caso dos mais excêntricos na história da música brasileira. Esteve no big bang da Bossa Nova, mas carregou consigo a peculiaridade de se fazer dissidente mesmo antes da consumação do movimento. Quando estreou em disco, em 1960, o músico paulista de Marília cantava temas de amor e suavizava a voz à maneira aprendida desde 1958 com João Gilberto, seu amigo até hoje. Mas o LP Não Gosto Mais de Mim escondia em seu interior uma pequena canção-contradição, nascida antes da influência da bossa, chamada Zelão.

Era exemplar do que só cerca de quatro anos depois levaria a alcunha de “canção de protesto”. “Morava em Botafogo, minha janela dava para um morro onde a chuva derrubou um barraco. Aquilo me comoveu muito”, ele rememora, instalado no apartamento-estúdio-ateliê em que vive, com impressionante vista para o mar e a Favela do Vidigal.

Zelão foi o maior sucesso do LP, mas colaborou para deslocar Sérgio da turma de Copacabana, empenhada em forrar a Bossa de sal, sol e sul. O afastamento paulatino viraria catarse na co-autoria da enfezada trilha sonora do filme Deus e o Diabo na Terra do Sol (1964), de Glauber Rocha, o primeiro a desafiá-lo a soltar o trovão que guardava na garganta. O protesto parecia ser o destino de Sérgio Ricardo.

“E por que o indivíduo faz isso? Porque quer atuar na transformação da sociedade. Não quer só gracinha, barquinho, prainha, amiguinhos. Chega desse negócio”, justifica, acostumado ao preço pago por conservar tal posição. “Se o recado dói na cabeça das pessoas, é porque dói na consciência. Aí começam a atacar”, raciocina.

A reprovação à música engajada foi explícita nos anos seguintes ao golpe militar de 1964, e sobrevive semi-oculta nas saliências e reentrâncias da indústria cultural. “Você entrega seu pêlo, se arrisca, pode ser preso, torturado, expulso do País, não ter mais entrada na mídia”, ele descreve.

Seu apartamento de vista magnífica fica na subida do morro do Vidigal, antiga Ladeira do Tambá, hoje avenida Presidente João Goulart. “Tenho inquietação, por isso moro num lugar pacífico”, brinca. Ele subverte assim uma máxima cantada em 1965 pelo bossa-novista Marcos Valle, falar de morro morando de frente pro mar/ não vai fazer ninguém melhorar, em crítica à bossa então politizada de Nara Leão, Carlos Lyra e Geraldo Vandré. Sérgio mora de frente para o mar. E para o morro.

Embora demarque respeito e amizade pela geração da Bossa, ele sustenta opinião contra o “clube” erguido ao redor da invenção inicial. “Quando alguém vem dizer que faz Bossa Nova, fico arrepiado. É sempre arremedo, cópia. Quando se descobre um cânone, todo mundo imita”, diz.

E cita João Gilberto, que, por sinal, tem cantado em shows recentes uma de suas bossas românticas iniciais, O Nosso Olhar: “Há certa confusão. Não gosto de falar em nome de João, seria bom que ele falasse. Mas não é muito satisfeito com os rumos que a coisa tomou, não”.

Dissidente da Bossa, Sérgio seguiria dissidente vida afora. Desde os anos 60 milita na luta pelos direitos autorais, o que lhe angariou e angaria hostilidades. “O Ecad virou o arrecadador de todo o dinheiro, que distribui de modo suspeito. Há pouco dei um depoimento numa reunião, fiz um discursozinho que desagradou o pessoal da situação.”

Músico de formação clássica, reorientou textos e melodias para milongas, modas de viola, capoeiras, batuques africanos, música nordestina. “No Rio e em São Paulo havia um preconceito contra o Nordeste, ‘os baianos’. Há um deboche até hoje, como há em relação aos negros. E dizem que não há racismo no Brasil.”

Em 1967 discordou dos pares mais engajados e deixou-se de fora de célebre passeata contra a guitarra elétrica. Em reação, inseriu guitarra no show que levava no Teatro Arena, antes de a tropa de elite tropicalista iniciar a tomada de poder na MPB.

Incidente maior aconteceria no mesmo ano, quando apresentou o samba de fundo social Beto Bom de Bola no festival da TV Record. Vaiado impiedosamente pela platéia, descontrolou-se, destruiu o violão no palco, retirou-se e foi desclassificado. O gesto o marcaria para sempre. O nome Sérgio Ricardo viria sempre com, vírgula, “o cantor que quebrou o violão”.

“A canção até favoreceu, meu nome permaneceu sendo falado. Se não fosse ela, teria partido para o anonimato total”, reavalia. Mas em 1991 demonstrou seu desconforto com o zangado livro Quem Quebrou Meu Violão (Record).

O caso não o fez desistir da voga dos festivais. No ano seguinte lá estava outra vez, com Dia da Graça. A Censura vetou parte da canção. Nos trechos que ele era forçado a silenciar, a platéia munida da letra cantava os versos proibidos. “Fui à forra. E aí, iam prender a platéia?”, orgulha-se. Curiosamente, a história oficial disseminou o episódio do violão, mas não guardou registro qualquer da “desforra”.

Sérgio ficou na mira da repressão antes de o mesmo acontecer com outro de seus maiores amigos, Chico Buarque (que, de brincadeira, costumava chamá-lo de “titio”). Foram censurados Calabouço (sobre o assassinato do estudante Edson Luís pela ditadura em 1968), uma canção sobre Che Guevara, os filmes que dirigiu anos 70 adentro.

O anonimato não foi total, pois havia o “circuito universitário”. “Os estudantes cantavam minhas músicas comigo, eu não entendia nem como tinham aprendido. Se eu tivesse gravado os shows que fiz pelo Brasil afora, nossa senhora, quero ver quem é popular.”

Frestas nas vitrines oficiais foram raras. Em 1977, integrou a trilha sonora do primeiro Sítio do Picapau Amarelo da Globo. Cantava para as crianças o desalentado tema da boneca de pano de Monteiro Lobato: pobre de mim, Emília, me traga uma notícia boa.

Data dessa fase a relação duradoura com o Vidigal. Um dia, da janela que ainda ocupa, prestou atenção num barraco de madeira lá adiante. Queria bolar o roteiro para um filme inspirado no Zelão, e acabou por comprar o barraco. Quando pediu escritura, recebeu a resposta do proprietário: “Você entra com seus móveis pela porta da frente, eu saio pela de trás e está feita a escritura”.

Deixou alugado o apartamento e foi para dentro do Vidigal. Mal havia se mudado, a Prefeitura decidiu desalojar os moradores e demolir os barracos. Transformou-se de súbito em líder comunitário. Mobilizou imprensa, cardeal, advogado. Levou Chico Buarque para show gratuito na comunidade. E o barraco do personagem Zelão, reencarnado em seu criador, dessa vez não foi ao chão. Mais tarde, foi habitado por uma sua empregada doméstica, que havia sido despejada da Rocinha.

Ele voltou à janela de sempre. Ali, com mar e morro lá fora, concebeu o novo Ponto de Partida, feito em parte de versões retrabalhadas de suas canções, das mais engajadas à bossa romântica de Folha de Papel (olha só o que o vento faz com o papel/ e traga ele a notícia que for/ vai voar, voar…).

Todo permeado de arranjos elegantes e harmonias sofisticadas, o CD foi gravado com uma equipe extensa de músicos jovens, inclusive os três filhos do cantor. “Descobri que a juventude não estava alienada como pensei”, ri. Refaz Deus e o Diabo na Terra do Sol com delicado arranjo sinfônico. Zelão fica de fora, mas o mito inaugural de Sérgio Ricardo habita dentro dele, por todos os poros e vizinhanças.

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PUBLICIDADE
AnteriorMORRO DA FORMIGA
PróximoMEG BOCA DE CAÇAPA
Pedro Alexandre Sanches
Editor de FAROFAFÁ, jornalista e crítico musical desde 1995, autor de "Tropicalismo - Decadência Bonita do Samba" (Boitempo, 2000), "Como Dois e Dois São Cinco - Roberto Carlos (& Erasmo & Wanderléa)" (Boitempo, 2004) e "Álbum" (Edições Sesc, 2021-2026)

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