“Vento de maio” (1966) and “Vento de maio” (1979)

“Vento de maio” by Gilberto Gil (music) and Torquato Neto (lyrics), 1966 



Oi você, que vem de longe // Hey you [girl] who’s come from so far away
Caminhando há tanto tempo // Been walking for so long now
Que vem de vida cansada // You, arriving tired of life
Carregada pelo vento // Carried in by the wind
Oi você, que vem chegando // Hey you, who’s just getting here
Vá entrando, tome assento // Come on in, take a seat
Desapeie dessa tristeza // Dismount from that sorrow
Que eu lhe dou de garantia // Cause I give you this guarantee
A certeza mais segura // With the utmost certainty
Que mais dia, menos dia // That one of these days
No peito de todo mundo vai bater a alegria // Joy will beat in everyone’s chest
Oi, meu irmão, fique certo // Hey, my brother, be confident
Não demora e vai chegar // It won’t take long and is sure to come
Aquele vento mais brando // That gentler wind
E aquele claro luar // And that bright moonlight
Que por dentro desta noite // That within this night
Te ajudarão a voltar // Will help you make your way back
Monte em seu cavalo baio // Get up on your bay horse
Que o vento já vai soprar // Cause the wind’s about to blow
Vai romper o mês de maio // The month of May is gonna break
Não é hora de parar // It’s not the time to stop
Galopando na firmeza // Galloping on steadily
Mais depressa vais chegar // You’ll get there more swiftly


“Vento de maio” by Telo Borges & Márcio Borges (1979) 


Vento de maio rainha de raio estrela cadente // Wind of May, queen of rays, falling star Chegou de repente o fim da viagem  // Suddenly the end of the trip has arrived
Agora já não dá mais pra voltar atrás // Now there’s no going back
Rainha de maio valeu o teu pique // Queen of May, your insistence served
Apenas para chover no meu piquenique // only to rain on my picnic
Assim meu sapato coberto de barro // Leaving my shoe covered in mud
Apenas pra não parar nem voltar atrás // only to keep me from stopping or going back
Rainha de maio valeu a viagem // Queen of May, the trip was great
Agora já não dá mais… // Now it can’t go on
Nisso eu escuto no rádio do carro a nossa canção // But meanwhile I hear our song on the car radio
Sol girassol e meus olhos abertos pra outra emoção // Sun, sunflower, and my eyes open for another emotion
E quase que eu me esqueci que o tempo não pára // And I almost forgot that time doesn’t stop
Nem vai esperar // Nor will it wait
Vento de maio rainha dos raios de sol // Wind of May, queen of the sun’s rays
Vá no teu pique estrela cadente até nunca mais // Go on get lost falling star, until never
Não te maltrates nem tentes voltar o que não tem mais vez // Don’t mistreat yourself or try to go back to what no longer has a chance
Nem lembro teu nome nem sei // I don’t even remember your name, I don’t even know
Estrela qualquer lá no fundo do mar // Just one of those stars in the depths of the sea
Vento de maio rainha dos raios de sol // Wind of May, queen of the sun’s rays
Rainha de maio valeu o teu pique // Queen of May, your insistence served
Apenas para chover no meu piquenique // only to rain on my picnic
Assim meu sapato coberto de barro // Leaving my shoe covered in mud
Apenas pra não parar nem voltar atrás // only to keep from stopping or going back

— Commentary —

Torquato & Gil, 1960s.
Torquato & Gil, late 1960s.

Torquato Neto wrote the lyrics for the first “Vento de maio” here in partnership with Gilberto Gil just before the Tropicália movement they were such an important part of took off.

Gil, Ana Duarte and Torquato at Torquato's wedding in 1966.
Gil, Ana Duarte and Torquato at Torquato’s wedding in 1966.

Neto (November 9, 1944 – November 10, 1972) was a lyricist, poet and journalist born in the arid northeastern Brazilian city of Teresina, Piauí.  He was fascinated with poetry and activism from a young age: At eleven, he requested the complete works of Shakespeare from his parents; at fifteen, he was kicked out of his school in Teresina for his political rabble-rousing. Neto then spent three years studying in Salvador (1960-63), where he first became acquainted with the Bahian musicians Gilberto Gil, Tom Zé, Caetano Veloso and Caetano’s sister, Maria Bethânia, and Gal Costa, along with the Bahian lyricist and poet José Carlos Capinan, who would also become a pivotal player in Tropicália.

Chico_TorquatoIn 1965, Gilberto Gil and Caetano Veloso moved to São Paulo and spent a lot of time between there and Rio, and that’s when their collaboration with Neto really got going. In 1966, Elis Regina and Jair Rodrigues recorded Neto’s and Gil’s “Louvação,” and the song became Neto’s first big hit as a lyricist. That same year, Wilson Simonal released “Vento de Maio”, and in 1967 it became an even bigger success with Nara Leão’s recording of the song as the title track of her album.

Torquato Neto, Caetano Veloso, and José Carlos Capinan.
Torquato Neto, Caetano Veloso, and José Carlos Capinan.

1967 was the year that Tropicália blasted onto the Brazilian music scene, beginning with Caetano’s “Alegria, Alegria” and Gil’s “Domingo no Parque.” On the seminal collaborative album from that movement — Tropicália ou Panis et Circensis (1968) — three of the biggest hits had lyrics by Neto: the Tropicália anthem “Geleia Geral,” with Gil; and “Mamãe Coragem” and “Deus vos salve esta casa santa,” with Caetano; that year, with Gil, Neto also released the hit “Marginalia II.”

Torquato Neto at Rio's D'Engenho de Dentro Psychiatric Hospital.
Torquato Neto at Rio’s D’Engenho de Dentro Psychiatric Hospital.

It’s no coincidence that Neto died a day after his twenty-eighth birthday. He committed suicide after struggling with depression throughout his twenties, leaving a note with a flurry of disconnected thoughts that ended by asking those who found him not to wake his three-year-old son.

 

 

 

– “Vento de Maio” (Telo Borges & Márcio Borges, 1979) –

L-R:  Mané Buxa, Milton Nascimento, Jaceline (on floor), Lô Borges, Célio Cabral, Telo Borges, Duca Leal and Márcio Borges at Milton Nascimento's house in Três Pontas, Minas Gerais, 1971.
L-R: Mané Buxa, Milton Nascimento, Jaceline (on floor), Lô Borges, Célio Cabral, Telo Borges, Duca Leal and Márcio Borges at Milton Nascimento’s house in Três Pontas, Minas Gerais, 1971.
Milton Nascimento in the middle and Telo Borges at right in Belo Horizonte in 1973, celebrating 35 years of marriage for the Borges's parents.
Milton Nascimento in the middle and Telo Borges at right in Belo Horizonte in 1973, celebrating 35 years of marriage for the Borges’s parents.

“Vento de maio” (1979) is Telo Borges‘s first recorded composition. Telo, born January 22, 1958, is the younger brother of Márcio Borges (b. January 31, 1946)  and Lô Borges (b. January 10, 1952). The older Borges brothers became famous when Telo was still just a kid, through their participation in Brazil’s famed music festivals of the late 1960s.  Their careers especially took off in the early 1970s, after their release of the groundbreaking 1972 album Clube da Esquina alongside Milton Nascimento and other clube da esquina (“corner club”)  musician pals from Minas Gerais. In this song, Telo makes several references to the song “Um girassol da cor do seu cabelo” from that album, by Lô Borges and Márcio Borges (and one of the first songs on this blog). References include “our song comes on the radio, sol, girassol“; “just one of those stars in the depths of the sea”; and even the way the song revolves around wind and solar rays : “Girassol…” begins with “vento solar e estrela do mar” (solar wind and starfish).

Around the time Clube da Esquina was released, Telo began to spend his vacations at Milton’s house in Rio, and participated in the recording of Milton’s 1973 album Milagre dos Peixes. At age 17 he composed “Vento de maio,” which he says was about a romance he was living at the time. Elis Regina recorded the song together with Lô Borges on her 1980 LP Elisbringing greater recognition to Telo, who went on tour with Lô that year as part of the Projeto Pixinguinha.

 

 

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Arrastão

Lyrics from Arrastão (Trawl) by Edu Lobo and Vinicius de Moraes, 1965

Good Audio Version (Grooveshark)

Eh! There are dinghies in the sea
Hey! hey! hey!
They’re trawling today
Eh! Everyone fishing
Enough of the shade, João
Jovi, look at the trawl
Going into the endless sea
Eh! My brother, bring me
Yemanjá for me
My Santa Barbara
Bless me
I want to get married
To Janaína

Eh! Pull real slowly
Hey! hey! hey!
The trawl is already coming in
Eh! It’s the Queen of the Sea
Come
Come in the net, João

For me

Help me God
Our Lord of Bonfim
Never before were there seen
As many fish as this

My Santa Barbara
Bless me
I want to get married
To Janaína…

Eh! pull real slowly
Hey! Hey! hey!
The trawl is already coming in
Eh! It’s the Queen of the Sea
Come!

Come in the net, João

For me

Help me God
Our Lord of Bonfim
Never before were there seen
As many fish as this

— Interpretation —

Edu Lobo and Vinicius de Moraes‘ “Arrastão,” intepreted by Elis Regina, took first place in Brazil’s I Festival of Música Popular Brasileira, staged by Excelsior TV in 1965. The performance marked a breakthrough in both Edu Lobo’s and Elis Regina’s musical careers: the young artists became household names and came to represent the emerging genre called “música popular moderna” (modern popular music, MPM), which soon began being labeled as MPB —  música popular brasileira. “Arrastão” is considered to mark a watershed moment, when erudite bossa novistas began to explore other styles and incorporate social messages in their music. Edu Lobo mixed social protest with regional influences from northeast Brazil. (In his book Verdades Tropicais, Caetano Veloso recognizes Edu Lobo’s role in incorporating northeastern elements into popular music, remarking, “Actually, the northeastern modalism came through to us more from Edu Lobo, from Rio, than from the border between [northeastern states]Bahia and Pernambuco.”)

“Arrastão” powerfully recalls Dorival Caymmi‘s lyrics about fishing, the sea, and the goddess of the sea Yemanjá.  Fittingly, Edu began composing the song during a music session at Dorival Caymmi’s house. Dorival was singing “História de Pescadores,” and during the third part, “Temporal,” Edu began composing a response, which became the base of the song.

Vinicius de Moraes’ lyrics reveal his involvement at the time with Afro-Brazilian mystical themes; the following year, he released the album Afro-Sambas with Baden Powell.  Yemanjá and Janaína are names for the goddess of the sea in the Afro-Brazilian sycretic religion Candomblé.  Catholicism’s Santa Barbara is represented in Candomblé by Yansã, the goddess of wind and storms. Our Lord of Bonfim is the syncretic counterpart of Jesus.

Although “Arrastão” is not explicit in its protest, it is identified as a protest song because of its regionalist and populist undertones. The song evokes a scene from a poor, remote northeastern fishing village, yet was written and performed by young, upper middle class, urban and well-educated Brazilian artists. The element of protest, then, lies in the attempt to draw the urban masses’ attention to social realities in Brazil during the early years of military dictatorship in the country. These kinds of messages were absent from the classic bossa nova songs from a few years earlier, which reflected an optimism that didn’t really consider what was going on outside of Ipanema.

Edu Lobo, identified among a “second wave” of bossa novistas, was born in Rio de Janeiro in 1943, son of the composer Fernando Lobo.  He began playing accordion as a child before switching to guitar.  He was profoundly influenced by Dorival Caymmi, and in the early 1960s began playing with Caymmi’s eldest son, Dori. He composed his first song with Vinicius de Moraes in 1962,  “Só me fez bem,” and went on to collaborate frequently with Vinicius, Tom Jobim, and Chico Buarque.

The I Festival of Música Popular Brasileira was such a hit that TV Record, a competitor of Excelsior, immediately appropriated the show, staging a competition by the same name the following year. The military dictatorship shut down TV Excelsior in 1970.

Main source for this post: A Canção no Tempo: 85 Anos de Músicas Brasileiras, vol. 2: 1958 – 1985,  Jairo Severiano and Zuza Homem de Mello (Editora 34, São Paulo), 1998

Romaria

Lyrics from “Romaria” (1977)
Sung by Elis Regina
Composed by Renato Teixeira

It’s of dream and dust
The destiny of one alone
Like me lost
In thought
On my horse

It’s of lasso and knot
Of holster and jiló  
Of this life carried out alone

I’m caipira, Pirapora
Our Lady of Aparecida
Illuminate the dark mine and guide
The train of my life (2x)

My father was a peon
My mother, loneliness
My brothers lost themselves in life – the price of adventures
I unmarried, I played
I invested, I gave up
If there’s luck, I don’t know
I never saw it

I’m caipira, Pirapora
Our Lady of Aparecida
Illuminate the dark mine and guide
The train of my life (2x)

They told me, nonetheless
That I should come here
To request, through pilgrimage and prayer
Peace in hardships (desaventos)

Since I don’t know how to pray
I just wanted to show
My gaze, my gaze, my gaze
I’m caipira, Pirapora
Our Lady of Aparecida
Illuminate the dark mine and guide
The train of my life (2x)

— Interpretation —

A caipira in Brazil is someone from the country, most commonly in the states of São Paulo, Paraná, Minas Gerais and Rio de Janeiro (other regions use different words, e.g. matuto in the Northeast).   This song speaks of the rough and solitary life of a caipira. Its forlorn, fatalistic tone is typical of caipira music, as is the theme of the loneliness and hardships of life on the range or in the mine.

“Pirapora” – which comes from the words for “fish” and “jump” in the indigenous Tupi language – likely refers to Pirapora do Bom Jesús, in São Paulo state, which is known as the “City of Miracles” and receives thousands of religious pilgrims every year.  Our Lady of Aparecida is the patroness (or patron saint) of Brazil. The composer, Renato Teixeira, wrote the song after observing pilgrims on their way to the basilica of Our Lady of Aparecida in Aparecida do Norte.

Jiló is a fruit — solanum gilo, known as “scarlet eggplant” in English, though I’ve never come across the fruit in the United States. I’ve translated “desaventos,” a caipira word, as hardships, but  it most literally translates to an enemy or event that has caused a disturbance or problem. Finally, I’ve translated gibeira (a corruption of the portuguese word algibeira) as holster because it is a small leather sack for carrying an object that needs particular care; however, the word in Portuguese does not have the same automatic association with a firearm as the word “holster” in English — the jiló, for instance, may be in the holster.

Elis Regina recorded the song in 1977 and it became an instant national sensation, even helping to reduce stereotypes and reclaim the word “caipira” as something to be proud of.  Elis Regina was renowned for her ability to draw such deep emotional reactions from the Brazilian public with her singing. She was one of the most beloved voices of Brazil’s MPB movement before dying at in 1982, at 36, from a drug overdose.

Post by Victoria Broadus (About)