Vingança

Lyrics from “Vingança” by José Maria de Abreu and Francisco Matoso; recorded by Gastão Formenti (1935)

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Lá na beira do roçado // Out at the farmland’s edge
Onde a tristeza não vem // Where sorrow doesn’t reach
Eu vivia sossegado // I lived so serenely
Com a viola do meu lado // With my viola by my side
Mais feliz do que ninguém // Happier than anyone

Numa festa no arra // At a party, at the fairgrounds
Vi dois óio (olhos) me o (olhar) // I saw two eyes gazing at me
Decidi no improviso // I made an improvised move
Ela me deu um sorriso // She gave me a smile
E comigo foi mo // And went to live with me

Nunca mais fui cantadô (cantador) // Nevermore was I a troubadour
E a viola descan (descansou) // And my viola reposed
Eu vivia pra caboca (cabocla) // I lived for the cabocla
Eu vivia pra caboca // I lived for the cabocla
Só pensava em meu a (amor) // I thought only of my love

Nunca fui feliz assim // I’ve never been so happy
Eu mesmo disse pra mim // I said to myself
Pensei que a felicidade // I thought this happiness
Pensei que a felicidade // I thought this happiness
Não pudesse   (ter) um fim // Could never end

Mas um dia a marvada (malvada) // But one day the shrew
Foi-se embora e me esqueceu // Ran off and forgot me
Com um caboco decidido // With a determined caboclo
Juca Antônio, um conhecido // Juca Antônio, a well-known
cantadô mais do que eu // Troubadour, more than I

Já cansado de cho  // Already tired of crying
Eu saí a procu // I went out in search of
A caboca que um dia // The cabocla that one day
Le (levou) minha alegria // Took my joy away
E eu jurei de me vin // And I swore I’d take revenge

Numa festa fui can// I went to sing at a fair
E a mulata tava lá // And the mulata was there
Juro por Nossa Senhora // I swear by Our Lady
Juro por Nossa Senhora // I swear by Our Lady
Que a caboca e quis ma // That I wanted to kill the cabocla

Mas fiquei sem respi// But I was left breathless
Quando vi ela dançá// When I saw her dancing
Ela tava tão bonita // She was so lovely
Ela tava tão bonita // She was so lovely
Que esqueci de me vin // That I forgot to take revenge

— Commentary —

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Gastão Formenti featured in a Carioca magazine piece on the “double lives of several figures from the ‘radiophonic’ world” (23/11/1935). Also featured: a driver for city services, sambista Moreira da Silva.

In 1930, Gastão Formenti, alongside Carmen Miranda, became the first Brazilian singer to sign a radio contract.  Electrical recording technology was introduced in Brazil in 1927, and at the dawn of the 1930s the national radio and recording industries were poised for a boom. Formenti became one of the early stars of that boom. He was a tremendously popular romantic singer that decade, specializing in “melancholy waltzes and nostalgic songs,”  according to a short profile in the review Phono-Arte, the first Brazilian publication focused on music and the recording industry, in print from 1928-’31.

Formenti was born to Italian immigrants in 1894 in the interior of São Paulo, and in this song he employs the caipira (hillbilly) accent associated with that region and the countryside in general. This style, smattered with more Italian-immigrant dialect, became famous a few decades later in sambas by another rural-São-Paulo-born son of Italians, Adoniran Barbosa. I’ve italicized the words/word endings that are sung this way: “oiá” instead of “olhar”; marvadainstead of “malvada,” for instance. Cabocla technically means someone of mixed-blood, with indigenous heritage, but also came to be used just to refer to country folk, as seems to be the case in this song.

Formenti was also an accomplished painter (as the photo above highlights), and after 1941 he began painting more and singing less, exhibiting some of his works in museums in Brazil and abroad.

José Maria Abreu and Francisco Matoso together composed dozens of tremendously popular romantic songs in the 1930s, including one of Brazil’s — and Francisco Alves‘s — all-time favorites, “Boa Noite Amor.”  Such slow waltzes and romantic ballads reigned in Brazil in the 1930s; in the ’40s, they were displaced by the more easily danced samba-canção.

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Insert from Diário A Noite, 1 July 1931.                 L-R: Francisco Alves, Gastão Formenti, Carmen Miranda, and Brenno Ferreira. Seated: Lamartine Babo.

 

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An Odeon advertisement, under the headline “Have you heard the new releases this month?” — January 1930

 

“Chega de Saudade” — “Garota de Ipanema” — “O amor em paz”

Chega de Saudade (1958, Tom Jobim & Vinicius de Moraes)

Vai minha tristeza // Get along, my sorrow
E diz a ela que sem ela não pode ser // And tell her it’s just impossible without her
Diz-lhe numa prece // Urge her in an entreaty
Que ela regresse // To come back to me
Porque eu não posso mais sofrer // Because I can’t suffer any longer

Chega de saudade // That’s enough of saudade
A realidade é que sem ela não há paz // The truth is that without her there’s no peace
Não há beleza  // There’s no beauty
É só tristeza e a melancolia // Only sadness and melancholy
Que não sai de mim, não sai de mim, não sai // That won’t leave me be, won’t leave me, won’t leave…

Mas se ela voltar, se ela voltar // But if she comes back – if she comes back
Que coisa linda, que coisa louca // What a beautiful thing, what a crazy thing
Pois há menos peixinhos a nadar no mar // Cause there’re fewer fishies swimming in the sea
Do que os beijinhos que eu darei na sua boca // Than the kissies I’ll plant on her mouth

Dentro dos meus braços // In my arms
Os abraços hão de ser milhões de abraços // The hugs will become millions of hugs
Apertado assim, colado assim, calado assim // Tight like so; entwined like so; hushed, like so
Abraços e beijinhos, e carinhos sem ter fim // Hugs and kisses and caresses without end
Que é pra acabar com esse negócio de você viver sem mim // Which is to put an end to this nonsense of you living without me!

(repeat)


“Garota de Ipanema”(1962, Tom Jobim & Vinicius de Moraes)

Olha que coisa mais linda // Look, what a most beautiful thing
Mais cheia de graça // Most full of grace
É ela a menina // It’s her, the girl
Que vem e que passa // That appears and passes by
Num doce balanço // In a sweet sway
A caminho do mar // On her way to the sea

Moça do corpo dourado // The girl with that body of gold
Do sol de Ipanema // From the sun of Ipanema
O seu balançado é mais que um poema // Her sashay is more than a poem
É a coisa mais linda que eu já vi passar // It’s the most beautiful thing I’ve ever seen go by

Ah, por que estou tão sozinho? // Oh, why am I so lonely?
Ah, por que tudo é tão triste? // Oh, why is everything so sad?
Ah, a beleza que existe // Oh, this beauty that exists
A beleza que não é só minha // Beauty that’s not mine alone
Que também passa sozinha // That also passes by on her own

Ah, se ela soubesse // Oh, if she only knew
Que quando ela passa /That when she passes by
O mundo inteirinho se enche de graça // The whole wide world swells up with grace
E fica mais lindo // And grows more beautiful
Por causa do amor // On account of love


“O amor em paz” (1961, Tom Jobim & Vinicius de Moraes)

Eu amei // I loved
E amei, ai de mim, muito mais // I loved, woe to me, much more
Do que devia amar // Than I ought to have loved
E chorei // And I cried
Ao sentir que iria sofrer // Sensing that I would suffer
E me desesperar // And grow desperate

Foi então // That was when
Que da minha infinita tristeza // Out of my infinite sadness
Aconteceu você // You came along
Encontrei em você // I found in you
A razão de viver // My reason for living
E de amar em paz // And for loving in peace
E não sofrer mais // And never suffering again
Nunca mais // Never again
Porque o amor // Because love
É a coisa mais triste // Is the saddest thing
Quando se desfaz // When it falls apart
O amor é a coisa mais triste // Love is the saddest thing
Quando se desfaz // When it falls apart

— Commentary —

Tom_Vinicius_1960_BaraodaTorre
Tom Jobim & Vinicius de Moraes at Tom’s home on R. Barão da Torre, Ipanema. 1960s.

Bossa nova classics are some of the songs curious listeners search for the most, so here are a few of the standards.  And as you can see, the Portuguese lyrics differ significantly from their respective English versions (“No more blues“; “Girl from Ipanema“; “Once I loved“).

So much has been written about bossa nova that I think my posts on bossa nova songs are probably more valuable just for the literal translation of the lyrics, in part because there are so many different stories out there – even in generally reliable sources – that it’s hard to feel confident about the veracity of many of them. But below I provide a little commentary on each of these songs.

Lavadeira
A “lavadeira” like the ones João Gilberto says he was inspired by.

João Gilberto liked to say he developed his innovative bossa-nova rhythm on the guitar in imitation of the rhythmic sway of the hips of the lavadeiras (laundry women) in Juazeiro, his home town in Bahia. He has also always insisted that bossa nova isn’t a genre; it’s just sambas performed with a little added twist – the new bossa of his guitar and voice. As you know, that bossa — whether it was the result of an epiphany he had while watching the lavadeiras of Juazeiro, or the culmination of a trend in Brazilian music that he managed to capture and express — turned the Brazilian music scene on its head in 1958, and in turn, quickly swept the United States off its feet.

“Chega de Saudade” was the title track on João Gilberto’s seminal 1958 album that is considered the cornerstone of bossa nova. Tom Jobim summed up the importance of the album and João Gilberto’s influence on the Brazilian music scene in his clear-sighted text in the liner notes. At the time, his affirmations seemed exaggerated to many consumers who had barely heard of 27-year-old Gilberto:  “In almost no time, he [João Gilberto] has influenced an entire generation of arrangers, guitarists, musicians and singers,” Tom wrote.

Funnily enough, according to Tom, quoted in A Canção no Tempo, this song — which casts off saudade in its lyrics — is nostalgic in its very construction, and not really the best representative of anything “nova”: “Its introduction recalls those traditional introductions of ensembles of guitar and cavaquinho … It has all of the classic modulations of old music… It’s a nostalgic song that’s rejecting saudade!”

But the version released on João Gilberto’s album was indeed bossa nova, with João Gilberto’s rhythmically innovative guitar strokes woven together with his soft style of singing and the simplicity of the lyrics — including the rhyme of peixinhos (fishies) with beijinhos (kissies), which raised more than a few critical eyebrows.

“Chega de Saudade” was first released on Elizeth Cardoso’s landmark album Canção do amor demais, six months prior to Gilberto’s Chega de Saudade, and on that album already represents a strong precursor to bossa nova, with João Gilberto playing his signature guitar accompaniment. Cardoso’s album is considered a “bridge” to the bossa-nova period that came into swing with Chega de Saudade.

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22 September 1963: Lyrics published in Jornal do Brasil column “Sing along with Radio JB”

Tom and Vinicius said that “Garota de Ipanema” was inspired by a teenage girl who they often admired as she passed by Bar Veloso, a bar on the street where she lived where the two were devoted patrons in the early ’60s. The bar has since taken the name of the song. In a 1965 interview with the magazine Manchete, Vinicius identified the girl as Heloísa (Helô) Menezes Pais Pinto (Helô Pinheiro, after marriage), saying: “For her we composed, with the utmost respect and speechless enchantment, the samba that put her in headlines around the world and turned our dear ‘Ipanema’ into a magical word for foreign listeners.”

The song wasn’t thrown together on a napkin in Bar Veloso, though. Both Tom and Vinicius labored carefully over their respective parts and, together with João, presented the version they were pleased with during the show Encontro, which debuted its forty-five day run at the boîte Au Bon Gourmet on 2 August 1962.  During the show, the trio included a playful intro to “Garota de Ipanema” that could actually serve as an introduction to much of bossa nova:

Vinicius_e_heloisaPinheiro
Vinicius de Moraes with Helô Pinheiro (1960s)

João Gilberto: “Tom e se você fizesse agora uma canção que possa nos dizer, contar o que é o amor…” (Tom, how about if you were to make a song right now that might tell us, explain what love is…)

Tom Jobim: “Olha Joãozinho, eu não saberia, sem Vinicius para fazer a poesia…” (Look, dear João, I wouldn’t know how, without Vinicius to write the poetry…)

Vinicius de Moraes: “Para essa canção se realizar, quem dera o João para cantar” (For this song to come to be, if only we could have João to sing…)

João Gilberto: “Ah, mas quem sou eu? Eu sou mais vocês. Melhor se nós cantássemos os três” (Ah, but who am I? I prefer the two of you. Best for all three of us to sing!)

…Olha que coisa mais linda, mais cheia de graça…

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21 August 1964: “Brazil seen from afar” column in Rio’s Diário das Noticias newspaper features news of “Garota de Ipanema,” the “latest champion of album sales in the United States, beating out the Beatles’ ‘A Hard Day’s Night.'”

“Garota de Ipanema” was released in early 1963 on the Phillips LP A Bossa dos Cariocas, and six months later Tom introduced it to American listeners on the Verve LP The Composer of Desafinado PlaysAt the end of ’63, Verve released the Astrud Gilberto/Stan Getz single “Girl from Ipanema” (with the title taken from the new English-language version, by Norman Gimbel), and then in 1964, the tremendously influential album Getz/Gilbertowhich changed the musical landscape around much of the world, became the first Grammy-Award-winning album from non-American artists and propelled “Garota de Ipanema” and the amateur Astrud Gilberto to enduring international stardom.

Finally, I don’t have much to say about “O amor em paz,” except that the harmony and lyrics are brilliantly complementary in this song, shifting between minor and major modes as the lyrics shift between notes of sadness and joy. João Gilberto released the song on his self-titled LP in 1961.

For more bossa nova songs, see: Insensatez; Corcovado; LigiaRosa Morena; Se todos fossem iguais a você and Samba do Avião.

Main sources for this post: A Canção no Tempo by Jairo Severiano and Zuza Homem de Mello and Bim Bom by Walter Garcia

Tarzan, o Filho do Alfaiate

Lyrics from “Tarzan, o Filho do Alfaiate” by Noel Rosa and Vadico (1936)

___

Quem foi que disse que eu era forte? // Who said I was strong?
Nunca pratiquei esporte // I’ve never played sports
nem conheço futebol…// I don’t follow football
O meu parceiro sempre foi o travesseiro // My partner has always been my pillow
E eu passo o ano inteiro // And I go the whole year
sem ver um raio de sol // without seeing one ray of sunlight
A minha força bruta reside // My brute force resides
Em um clássico cabide // On a classic coat-hanger
já cansado de sofrer // Already weary of suffering
Minha armadura é de casimira dura // My armor is made of stiff cashmere
Que me dá musculatura // Which gives me ‘musculature’
mas que pesa e faz doer // but which is heavy, and causes pain

Eu poso pros fotógrafos // I pose for photographers
e destribuo autógrafos // and give out autographs
A todas as pequenas lá da praia de manhã // To all the broads out on the morning beach
Um argentino disse, me vendo em Copacabana: // An Argentinian said, seeing me in Copacabana:
No hay fuerza sobre-humana que detenga este Tarzan‘// ‘There’s no super-human force that could stop this Tarzan’

De lutas não entendo abacate // Of bouts, I know squat
Pois o meu grande alfaiate // You see my masterful tailor
não faz roupa pra brigar // Doesn’t make clothes to fight in
Sou incapaz de machucar uma formiga // I’m incapable of hurting an ant
Não há homem que consiga nos meus músculos pegar//And there’s no man alive who could touch my muscles
Cheguei até a ser contratado // I had even been signed
Pra subir em um tablado // To go up in a ring
pra vencer um campeão // And beat a champion
Mas a empresa, pra evitar assassinato // But the company – to prevent homicide –
Rasgou logo o meu contrato // swiftly tore up my contract
quando me viu sem roupão // when they saw me sans robe

Eu poso pros fotógrafos // I pose for photographers
e destribuo autógrafos // and distribute autographs
A todas as pequenas lá da praia de manhã // To all the broads out on the morning beach
Um argentino disse, me vendo em Copacabana: // An Argentinian said, seeing me in Copacabana:
No hay fuerza sobre-humana que detenga este Tarzan‘// ‘There’s no super-human force that could stop this Tarzan’

Quem foi que disse que eu era forte? // Who said I was strong?
Nunca pratiquei esporte // I’ve never played sports
nem conheço futebol…// I don’t follow football
O meu parceiro sempre foi o travesseiro // My partner has always been my pillow
E eu passo o ano inteiro // And I go the whole year
sem ver um raio de sol // without seeing one ray of sunlight
A minha força bruta reside // My brute force resides
Em um clássico cabide // On a classic coat-hanger
já cansado de sofrer // Already weary of suffering
Minha armadura é de casimira dura // My armor is made of stiff cashmere
Que me dá musculatura // Which gives me ‘musculature’
mas que pesa e faz doer! // but which is heavy and causes pain!

— Commentary —

Ad for the 1936 movie Cidade Mulher
Ad for the 1936 movie Cidade Mulher
Noel Rosa in 1937
Noel Rosa in 1937. Noel is known for his brilliantly poetic and humorous observations of carioca society in the 1930s.

Noel Rosa composed six songs, including this humorous samba, for the 1936 film Cidade MulherRio is often referred to poetically as cidade-mulher (lady-city) in homage to its exquisite enchantments. (In popular music, along with Noel Rosa’s eponymous marcha composed for the movie, there’s Paulo da Portela’s beautiful samba “Cidade Mulher.”)

The movie in and about Rio provided the perfect opportunity for Noel Rosa to flex his critical poetic muscles. He is known for his witty lyrical commentary on carioca society, and this samba satirizing the scene on Rio’s beaches at the time is a perfect example of his humorous critique of one aspect of society in Rio in the 1930s.

Johnny Weissmuller as Tarzan set a tough standard of beauty for boys in Rio to achieve.
Johnny Weissmuller as Tarzan set a tough standard of beauty for boys in Rio to achieve.

In the early 1930s, Hollywood movies shattered previous standards for male beauty in Rio, establishing a new, much brawnier image of an attractive man. In the 1933 movie Tarzan the Ape Man, translated in Portuguese to Tarzan, Filho das Selvas (Tarzan, Son of the Jungle – hence the title of this song, “Tarzan, Son of the Tailor”),  Olympic swimming champion Johnny Weissmuller played the hero: broad shoulders and booming biceps became the ideal many carioca men strove to achieve.

But when so many of the wispy but well-heeled boys on the beaches of Noel Rosa’s Rio de Janeiro couldn’t live up to this standard of beauty, they turned to their trusty tailors, who gave them enough heavy shoulder padding to add plenty of “musculature.” Their strength therefore resided on a weary weighed-down coat-hanger.

Almirante recorded the song for the movie.

Source for this post: Noel Rosa: Uma biografia by João Máximo and Carlos Didier