Mascarada/ Minhas Madrugadas/ Injúria/ Recado/ O Sol Nascerá (A Sorrir)/ Jurar com Lagrimas/ Rosa de Ouro

Lyrics from “Mascarada” by Zé Kéti and Élton Medeiros (1964)


Vejo agora esse teu lindo olhar/ I see your beautiful gaze
Olhar que eu sonhei/ A sight I dreamed of
E sonhei conquistar/ And dreamed of winning over
E que num dia afinal conquistei, enfim/ And that in the end one day I won over at last Findou-se o carnaval/ Carnival ended
E só nos carnavais/ And only during Carnivals
Encontrava-me sem/ I’d find myself unable
Encontrar este teu lindo olhar, porque/ To find your beautiful gaze, because
O poeta era eu/ I was the poet
Cujas rimas eram compostas/ Whose rhymes were composed
Na esperança de que/ Of the hope that
Tirasses essa máscara/ You’d remove that mask
Que sempre me fez mal/ That always caused me pain
Mal que findou só/ Pain that ended only
Depois do carnaval/ After Carnival

Lyrics from “Minhas Madrugadas” (Paulinho da Viola/ Candeia, 1965)

Vou pelas minhas madrugadas a cantar/ I go along through my late nights, singing
Esquecer o que passou/ To forget all that happened
Trago a face marcada/ I show wear and tear
Cada ruga no meu rosto/ Every wrinkle on my face
Simboliza um desgosto/ Represents a hardship

Quero encontrar em vão o que perdi/ I want to find in vain what I lost
Só resta saudade/ Only saudade remains
Não tenho paz/ I have no peace
E a mocidade/ And my youth
Que não volta mais/ That will never return

Quantos lábios beijei/ How many lips I kissed
Quantas mãos afaguei/ How many hands I caressed
Só restou saudade no meu coração/ Only saudade is left in my heart
Hoje fitando o espelho/ Looking in the mirror today
Eu vi meus olhos vermelhos/ I saw my bloodshot eyes
Compreendi que a vida/ And understood that the life
Que eu vivi foi ilusão/ I lived was an illusion

Lyrics from “Injúria” by Élton Medeiros and Cartola

Pois é/ That’s right
Tudo começou assim/ That’s how it all started
Alguém se vingou em mim/ Someone took revenge on me
Inventando o que eu não pratiquei/ Making up something I hadn’t done
Pois é/ That’s right
Só deus sabe o quanto amei/ Only god knows how much I loved
Por te amar tanto chorei/ For loving you how I cried
E chorando levo a coisa até o fim/ And crying I take the thing to its end
Não sei como foste acreditar/ I don’t know how you came to believe
Em mentira tão vulgar/ In such a vulgar lie
De um sujeito tão vulgar também/ From such a vulgar guy what’s more
Sofri a maior decepção/ I’ve suffered the greatest disillusion
Tentarei te esquecer/ I’ll try to forget you
Pois te amar foi ilusão/ Because loving you was an illusion
Não sei porque foste derrubar/ I don’t know why you went and knocked down
O castelo que eu fiz/ The castle I built
Em meu castelo era tão feliz/ In my castle I was (or you were) so happy


Lyrics from “Recado” by Paulinho da Viola and Casquinha (1965)

Leva um recado/Take a note
A quem me deu tanto dissabor/ To the one who caused me such bitterness
Diz que eu vivo bem melhor assim/ Say that I live much better like this
E que no passado fui um sofredor/ And that in the past I was a wretch
E agora já não sou/ And now I’m not anymore
O que passou, passou/ The past is the past
E agora já não sou/ And now I’m not anymore
O que passou, passou/ The past is the past
{bis}

Vai dizer à minha ex-amada/ Go and tell my ex-love
Que é feliz meu coração/ That my heart is happy
Mas que nas minhas madrugadas/ But that in my late nights
Eu não esqueço dela, não/ I haven’t forgotten her
Leva um recado!/ Take a note


Lyrics from “O Sol Nascerá (A Sorrir)” by Cartola and Élton Medeiros (1963)

A sorrir/ Smiling
Eu pretendo levar a vida/ I intend to lead my life
Pois chorando/ Because crying
Eu vi a mocidade/ I saw my boyhood
Perdida/ Lost

Finda a tempestade/ Once the storm’s over
O sol nascerá/ The sun will come out
Finda esta saudade/ Once this saudade is over
Hei de ter outro alguém para amar/ I’ll find someone else to love


Lyrics from “Jurar Com Lágrimas” by Paulinho da Viola (1965)

Jurar com lágrimas/ Swearing with tears
Que me ama/ That you love me
Não adianta nada/ Won’t get you anywhere
Eu não vou acreditar/ I won’t believe it
É melhor nos separar/ It’s better for us to split up

Não pode haver felicidade/ There can’t be bliss
Se não há sinceridade/ If there’s no sincerity
Dentro do nosso lar/ In our home
Se aquele amor não morreu/ If that love hasn’t died
Não precisa me enganar/ You don’t need to try to fool me
Que seu coração é meu/ That your heart is mine


Lyrics from “Rosa de Ouro” by Paulinho da Viola, Élton Medeiros and Hermínio Bello de Carvalho (1965)

Ela tem uma rosa de ouro nos cabelos/ She has a golden rose in her hair
E outras mais tão graciosas;/ And others too so lovely
Ela tem outras rosas que são os meus desvelos/ She has other roses that are my devotion
E seu olhar faz de mim um cravo ciumento/ And her gaze turns me into a jealous thorn
Em seu jardim de rosas/ In her garden of roses
Rosa de ouro, que tesouro/ Golden rose, what a treasure
Ter essa rosa plantada em meu peito!/ To have this rose planted in my heart
Rosa de ouro, que tesouro/ Golden rose, what a treasure
Ter essa rosa plantada no fundo do peito!…/ To have this rose planted deep in my heart…

 

— Commentary —

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Paulinho da Viola and Élton MedeirosPhoto via Instituto Moreira Salles.

I translated all of these together because they’re all recorded as a single medley track on the album Samba na Madrugada (1966). In April 1966, just before leaving for the First Festival of Black Arts in Dakar, Senegal, Paulinho da Viola and Élton Medeiros hurriedly recorded the albumwhich became an enduring samba classic.  (It was supposed to be called Na Madrugada, but the record company misprinted the name, and it stuck.)

According to Élton Medeiros, in an interview recorded in 1985 for the General Archive of the City of Rio de Janeiro, he and Paulinho recorded the album in a single night on the eve of their trip to Africa, from 9 p.m. to 6 a.m.  Medeiros laughed as he recalled the other musicians joking that “Benil [Santos, the album’s producer] thinks you’re going to die on that plane,” because Santos was in such a rush to record everything before they left.

Medeiros said that by the middle of the night he was exhausted, and the album included moments of him falling asleep, including at the beginning of the first song in this ‘potpourri,’ or medley, “Mascarada.” He said he could be heard nodding off as the song began but that they were in too much of a rush to do a retake.

In 1968, the renowned music critic Luiz Carlos Maciel wrote in the Rio daily Correio da Manhã that the album transmitted a “pleasant spontaneity,” with performances offering the “freshness of improvisation”; Medeiros’s description of the recording session helps to explain that vibe. Maciel praised Samba na Madrugada as a model samba album, beginning, “O samba carioca has its traditions. And almost all of them can be found on this LP by Paulinho da Viola and Élton Medeiros.” He wrote that the collection of sambas revealed “roots on the morro” — the favela — “but a trunk nurtured by the asphalt,” or more refined city below.

Medeiros recalled that he and Paulinho were in a bit of a fight at the time with Zé Kéti, with whom they had been performing and recording as A Voz do Morro since they all began to frequent Cartola’s restaurant Zicartola together in 1964. So they abandoned A Voz do Morro and decided, upon Benil Santos’s urging, to record an album on their own.

The trombonist on the album is Raul de Barros, who also traveled with the Brazilian delegation to the festival in Senegal. Élton Medeiros played trombone as a teenager, and had always been a vocal admirer of the instrument. He stopped playing when the friend whose trombone he had borrowed asked for it back; after that, he said he went into a botequim and bought a matchbox — a cheaper and more portable instrument. He can be heard playing matchbox on this recording.

A couple notes on the other songs here: “Recado” was the first samba Paulinho da Viola played when he went in late 1964 to Portela Samba School. When the composers there asked him to show them one of his compositions, he played the first part of “Recado” twice and recalls that Casquinha jumped in with the second part on the spot.

Cartola and Élton Medeiros also composed “O Sol Nascerá (A Sorrir)” on the spot when challenged to compose a samba one night at the house on Rua das Andradas that prefigured Zicartola.

Main source for this post:  Élton Medeiros depoimento para o Projeto Memória Músical Carioca, Arquivo Geral da Cidade do Rio de Janeiro, 4 July 1985.

“Lábios Que Beijei” – “Nada Além” – “Enquanto Houver Saudade”

Lyrics for “Lábios que beijei” by J. Cascata and Leonel Azevedo, recorded by Orlando Silva (1937)

___

Lábios que beijei / Lips that I kissed
Mãos que afaguei / Hands that I clutched
Numa noite de luar, assim, / On a moonlit night like this
O mar na solidão bramia/ The sea in its solitude bellowed
E o vento a soluçar, pedia / And the howling wind begged
Que fosses sincera para mim/ That you be true to me

Nada tu ouviste/ You listened to nothing
E logo que partiste / And after you left
Para os braços de outro amor/ For the arms of another love
Eu fiquei chorando/ I was left crying
Minha mágoa cantando/ My anguish singing out
Sou estátua perenal da dor / I’m a longstanding statue of pain

Passo os dias soluçando com meu pinho/ I spend my days sobbing with my guitar
Carpindo a minha dor, sozinho/ Wailing out my pain, all alone
Sem esperanças de vê-la jamais / Without any hopes of seeing you again
Deus tem compaixão deste infeliz/ God have mercy on this wretch
Porque sofrer assim/  Why such suffering
Compadecei-vos dos meus ais / Take pity on my pain
Tua imagem permanece imaculada / Your image remains immaculate
Em minha retina cansada/ In my retina grown weary
De chorar por teu amor/ From crying for your love

Lábios que beijei/ Lips that I kissed
Mãos que afaguei/ Hands that I clutched
Volta vem curar a minha dor/ Come back to cure my sorrow


Lyrics from “Nada Além” by Custódio Mesquita and Mário Lago, recorded by Orlando Silva (1938)

___
Nada além / Nothing more
Nada além de uma ilusão/ Nothing more than an illusion
Chega bem / That’s well enough
Que é demais para o meu coração / It’s too much for my heart
Acreditando / Believing
Em tudo que o amor mentindo sempre diz / In everything that love, lying, always says
Eu vou vivendo assim feliz / I go on living happily like this
Na ilusão de ser feliz/ Under the illusion of being happy
Se o amor só nos causa sofrimento e dor / If love only causes us suffering and pain
É melhor, bem melhor a ilusão do amor/ Better, much better, is the illusion of love
Eu não quero e não peço / I don’t wish for, nor do I ask
Para o meu coração/ for my heart
Nada além de uma linda ilusão / Anything more than a beautiful illusion


Lyrics from “Enquanto Houver Saudade” by Custódio Mesquita and Mário Lago, recorded by Orlando Silva (1938)

___

Não posso acreditar / I just can’t believe
Que algumas vezes/ That now and then
Não lembres com vontade de chorar/ You don’t think back with the urge to cry
Daqueles deliciosos quatro meses/ On those four heavenly months
Vividos sem sentir e sem pensar/ Lived without sensing and without thinking

Não posso acreditar/ I just can’t believe
Que hoje não sintas/ That today you don’t feel
Saudade dessa história singular/ Suadade for that singular story
Escrita com as mais suaves tintas/ Written in the tenderest shades
Que existem pra escrever o verbo amar/ That exist to write the verb ‘to love’

Enquanto houver saudade/ As long as saudade exists
Pensarás em mim/ You’ll think about me
Pois a felicidade/ Because happiness
Não se esquece assim/ Isn’t forgotten so easily
O amor passa mas deixa/ Love passes, but leaves
Sempre a recordação/ Forever the memory
De um beijo ou de uma queixa/ Of a kiss or a complaint
No coração/ In the heart

— Commentary —

pixinguinha_e_orlando_silva
Orlando Silva (L) and Pixinguinha. (Not quite sure of date – will insert when I find it!)
Orlando_Silva_VaiGRavar
“Lábios que beijei” was an anticipated release: In its April 25, 1936, edition, the magazine Carioca announced the Orlando Silva was preparing to record the song, which was released the following year.

I know most readers who end up here are more interested in the likes of Caetano Veloso and João Gilberto  than romantic valsas from the late 1930s. But as Caetano points out in his memoir Verdade Tropical (1997), João Gilberto called Orlando Silva (1915-1978) the “world’s greatest singer,” and in the few interviews Gilberto granted, he almost unfailingly mentioned Orlando Silva’s refined style as the inspiration for bossa nova.

In Verdade Tropical, Caetano (who turns 66 today — August 7, 2018 — parabéns, Caetano!) suggests that “any fan of Brazilian popular music, in any corner of the world, should try to listen to Orlando Silva’s recordings from the 1930s to better understand (and get more pleasure from) the mystery of the misty sound of the Portuguese language over the Afro-Amerindian rhythm-scape.”

Custodio_Mesquita_Mario_Lago_e_Orlando_Silva.jpg
Custódio Mesquita (at piano), Mário Lago, and Orlando Silva. Image via Instituto Piano Brasileiro.

Caetano praises Silva’s “celestial suaveness,” his inventive phrasing, exquisite timing and overall “miraculous” musicality.  Silva had a powerful voice but always used it artfully; he softened, rather than exaggerated, the high notes he hit, for instance, and avoided the vocal “exhibitionism” of his counterparts, Caetano notes.

Silva was known as the cantor dos multidões —  the singer of the masses — and achieved an unparalleled kind of stardom after he released “Lábios que beijei” in 1937. Fans were known to tear at his clothes and faint in his presence in a manner that would only become more familiar with stars like Frank Sinatra years later. His extraordinary success was all the more impressive given his humble background: Silva was from a working-class family in Rio’s North Zone. His father, a choro guitar player and railway worker, died from the Spanish flu when Silva was three, and as a young boy, Silva began working as a meal deliverer. He held several jobs, including bus-fare collector, where his colleagues heard him singing and encouraged him to go to a radio test; once radio producers became aware of Silva, he quickly rose to stardom.

As Caetano points out, Silva created an entirely new style of Brazilian song with his brilliant manner of adjusting his interpretive style to the advent of the electric microphone. Bing Crosby was among the first to have successfully pioneered such changes in singing technique in the United States, where electric recording took off earlier. In turn, while Brazilian singers Dick Farney and Lúcio Alves — men “much richer and better educated than Orlando,” Caetano reminds — worked to incorporate Crosby’s techniques, “there’s more Bing Crosby in Orlando Silva (who possibly heard the American singer, but very little and without a chance to become very familiar with his work) than in those showy singers.”

Several accidents and sicknesses throughout his life left Silva susceptible to morphine dependence, and he struggled with drug and alcohol addiction from the 1940s until his death from a stroke on August 7, 1978 — Caetano’s thirty-sixth birthday.

“Lábios que beijei” was Orlando Silva’s first and greatest hit, according to music historian Jairo Severiano, who wrote that the “melancholy composition never found another interpreter as perfect as the young Orlando, who was 22 at the time,” and that Silva’s presence is so important to the song that one could “symbolically consider him a partner in the composition, alongside Cascata and Leonel Azevedo.” Radamés Gnattali orchestrated “Lábios que beijei” for the 1937 recording, giving an emphasis to the strings that, after the success of that recording, became standard for the Brazilian romantic repertoire.

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An announcement from the newspaper A Noite from July 10, 1937, describes the show “Rumo ao Cattete,” which had opened the night before at Teatro Recreio. 

“Nada Além” and  “Enquanto Houver Saudade” were both composed by one of the greatest duos in Brazilian popular music — Custódio Mesquita and Mário Lago — for the 1937 show Rumo ao Cattete (Headed to Catete’ [presidential palace]) — about the presidential elections that were set to take place in late 1937 but were cancelled by Getúlio Vargas’s November 1937 coup that installed his Estado Novo regime.  As Jairo Severiano recounts in A Canção no Tempo, “Nada Além” accompanied a comic-romantic scene in which a character played by Armando Nascimento watches as a shop salesman pitches several items to him; when the salesman sees that his would-be client can’t make up his mind, he asks him, “So what does the gentleman desire?,” to which the fellow responds in song: “Nada além, nada além de uma ilusão…”

In a 1984 interview with Jairo Severiano and Paulo Tapajós, Mário Lago recalled that he and Custódio Mesquita composed “Enquanto houver saudade” at the last minute because they realized they needed a song for another scene in the show. As they composed the song, Armando Nascimento learned it line by line as it came together. Lago and Mesquita apparently worked quite well under pressure: The song became one of their best-loved compositions. Mesquita invited Orlando Silva to attend the show, and Lago recounted that when they asked Silva afterwards how he had liked it, he said with urgency, “I want to record those two songs – has anyone claimed them yet?” They were his.

Lago recalled that “Nada além” became a favorite of Dona Canô — Caetano and Maria Bethânia’s mother — and Bethânia went on to record the song.  Meanwhile, in the 1984 interview mentioned above, Lago called his friend Custódio Mesquita “one of the most ‘wronged’ (injustiçado) composers of all time,” with some of the most beautiful melodies in the Brazilian popular repertoire, who “didn’t deserve to be forgotten like he’d been forgotten.”

Caetano sings “Labios que beijei”:

Caetano sings “Nada Além”:

 

Sources for this post:  Verdade Tropical by Caetano Veloso; A Canção no Tempo by Jairo Severiano and Zuza Homem de Mello; conversation with Jairo Severiano on Aug. 7, 2018; and Mário Lago’s depoimento for the Projeto Memória Musical Carioca, recorded by Jairo Severiano and Paulo Tapajós at Rio’s Arquivo da Cidade on September 4, 1984.

Mario Lago, Orlando Silva, Custodio Mesquita
A different angle: Mesquita,Lato, and Silva. 

 

Rosa de Hiroshima

Lyrics from “Rosa de Hiroshima” by Vinicius de Moraes, music by  Gérson Conrad; released by Secos & Molhados (1973)

Pensem nas criancas // Think of the children
Mudas, Telepáticas // Mute, telepathic
Pensem nas meninas // Think of the girls
Cegas, inexatas // Blind, inexact (amiss)
Pensem nas mulheres // Think of the women
Rotas, alteradas // Torn, altered
Pensem nas feridas // Think of the wounds
Como rosas cálidas // Like burning roses
Mas oh! Nao se esqueçam // But oh! Don’t forget
Da rosa da rosa // The rose of roses
Da rosa de Hiroshima // The rose of Hiroshima
A rosa hereditária // The hereditary rose
A rosa radioativa // The radioactive rose
Estúpida e inválida // Senseless and invalid
A rosa com cirrose // The rose with cirrhosis
A anti-rosa atomica // The atomic anti-rose
Sem cor, sem perfume // Without color, without fragrance
Sem rosa, sem nada // Without rose, without anything

— Commentary —

hiroshima_After via Atlantic via U.S. National Archives
Hiroshima in the aftermath of the attack. Image via The Atlantic .

In the early morning of 6 August 1945, an American B-29 bomber, the Enola Gay, lifted off a runway on Tinian Island in the Pacific. Piloted by Colonel Paul W. Tibbets, who had named the giant Superfortress after his mother, the Enola Gay carried a ten-thousand-pound atomic bomb known as “Little Boy.” At 8:15 A.M., the crew of the Enola Gay covered their eyes with dark glasses and the bombardier, Thomas Ferebee, released the huge orange and black bomb over Hiroshima, Japan, a city of 250,000 people, many of whom were starting their last day on earth. The bomb exploded over the city with a brilliant flash of purple light, followed by a deafening blast and a powerful shock wave that heated the air as if expanded. A searing fireball eventually enveloped the area around ground zero, temperatures rose to approximate those on the surface of the sun, and a giant mushroom cloud roiled up from the city like an angry gray ghost. Within seconds Hiroshima was destroyed and half of its population was dead or dying. Three days later, a second atomic bomb destroyed the Japanese city of Nagasaki, killing more than 60,000 people. –Michael Hogan: Hiroshima in History and Memory

Vinicius de Moraes composed this poem in 1954. Nearly twenty years later, Gérson Conrad of Secos & Molhados set the poem to music. Secos & Molhados released “Rosa de Hiroshima” on their self-titled debut album, and Ney Matogrosso’s piercing rendition seared the song into popular memory across Brazil.

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Rio de Janeiro’s Diário da Noite from 7 August 1945 announced “Revolution in Methods of War!” A front-page article on the attack described the atomic bomb as “the most terrifying discovery of recent times,” and Hiroshima as “the Japanese city that had the bad luck of being the first to vanish from the map as a consequence of the effects of the atomic bomb.” Image via Hemeroteca da Biblioteca Nacional.

The horror of the atomic bomb was incomprehensible in Japan and around the world.  The scale of the attack was so unfathomable that the Japanese reacted almost as if they’d been struck by a natural disaster, rather than a man-made atrocity released by bombardier Thomas Ferebee at 8:15 that morning.  No prior conceptions or language existed to grapple with the scale of the attack, so reckoning largely came, when it came, through the arts.

The mushroom cloud of the bomb spread as a rose bud blooms and expands, and Vinicius de Moraes treated the bomb as the “anti-rose” in this poem.

Floor of Damaged Bank Building_Oct 6 1945
A woman lies with her child on the floor of a ruined bank building in Hiroshima, 6 October 1945. Image via The Atlantic.

The first verses focus on the hundreds of thousands of innocent victims of the bomb: Rollicking children were rendered mute, killed or surviving without words to express or come to terms with the experience. Girls were blinded by the searing flash;  “inexact” evokes incompleteness, or something amiss.  (I didn’t want to post too gruesome images here, but some of these seem representative of what Vinicius mentions.)

“Rotas, alteradas” can also be interpreted as “rotas alteradas,” or paths altered.

The second part of the lyrics discuss the “senseless” bomb. “Hereditary” rose may refer to the fact that survivors were “presumed to carry the curse of the bombs in their blood,” and were shunned in Japan. Invalid can be interpreted as not valid — out of bounds, unwarranted — or “invalid” in the sense of disabled, as the survivors were left both psychologically and physically. The Japanese government essentially ignored the bomb survivors until November 1953, when it established a research council to conduct surveys of survivors. The news surrounding this movement may have inspired the poem, written shortly thereafter. This rose is fatally flawed, sick with cirrhosis like the survivors who developed cirrhosis of the liver from radiation poisoning.

If the rose represents beauty, passion, and vigor, the bomb was the “anti-rose,” like an anti-christ.

 

 

 

Main source for this post: Hiroshima in History and Memory, ed. Mark Hogan