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 —

Screenshot 2018-08-09 at 1.10.29 PM
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.

Saci

Lyrics from “Saci” by Guinga and Paulo César Pinheiro (1993)

Quem vem vindo ali // Who’s on his way here
É um preto retinto e anda nu // Is a jet-black boy, and he’s naked
Boné cobrindo o pixaim // Cap covering his ‘fro
E pitando um cachimbo de bambu // And puffing on a bamboo pipe

Vem me acudir // He’s coming to see me
Acho que ouvi seu assovio // I think I heard his whistle
Fiquei até com cabelo em pé // My hairs even stood on end
Me deu arrepio, frio // I got the goosebumps, chills

Quem vem vindo ali // Who’s on his way here
Tá capengando numa perna só // Is hobbling on just one leg
Só pode ser coisa ruim // This can’t be good
Como bem dizia minha vó // Just like my grandma used to say

Diz que ele vem // They say he’s coming
Montado num roda-moinho // Riding a whirlwind
Já sei quem é, já vi seu boné // I know who it is, I’ve caught a glimpse of his cap
Surgir no caminho // On the way

Quando ele vê que eu´me benzi // When he sees that I’ve crossed myself
E que eu me arredo, cruz credo // And that I’m moving away, goodness be
Solta uma gargalhada // He’ll let out a cackle
Some na estrada // Vanish down the road
É o Saci // It’s Saci

— Commentary —

saci-pererc3aa
Saci in Tico-Tico, 24 June 1931

Dear Readers: Ever since I started a PhD program (in Brazilian history!), I’ve barely had time to post. But I’m going to keep trying! Please send requests. I wanted to do a quick post in honor of “Dia do Saci,” and it’s hard to go wrong with a song by Guinga and Paulo César Pinheiro.

Dia do Saci: Halloween keeps getting bigger in Brazil. But since 2003, October 31 has officially been “Dia do Saci,” in honor of the little one-legged rascal from Brazilian folklore. He emerged from Tupi-Guarani folklore in the south of Brazil, and was incorporated into slave fables. Saci is never without his magic red sock hat and pipe, and can’t stop getting into mischief. Legend has it that he lives in whirlwinds and can be caught with a net; upon capture, his hat must be removed to ensure his obedience. Sacis are born in bamboo shoots, where they live for seven years before emerging to wreak playful havoc for the next seventy-seven years. When they die, they turn into mushrooms.

0021406_regular_saci-perere-lendas-gauchas-regiao-das-missoes-(2)
“Halloween? I want nothing to do with it!” — “Today’s our day! Hey Hey Hey!”

Saci Day was declared in Brazil’s Federal Law 2.762, in 2003. It was part of a bill presented by Rio de Janeiro’s deputy Chico Alencar (PSOL) in an effort to celebrate Brazilian folklore rather than traditions imported from abroad – in this case, the celtic celebration of Halloween, imported from the United States.

Three years ago for this occasion I posted “Sasaci-Pererê” (Jorge Ben).

There is some debate in Brazil regarding racial stereotypes in depictions of Saci, particularly regarding those of the tremendously popular children’s author Monteiro Lobato.

Here’s Monica Salmaso’s beautiful version of the song:

Lupicínica

Lyrics from “Lupicínica” by Aldir Blanc and Jayme Vignoli (2005)

___

Amei // I loved
uma enfermeira do Salgado Filho // A nurse from Salgado Filho
paixão passageira, sem charme nem brilho // A short-lived passion, without charm or splendor
roteiro batido, romance na tarde // A time-worn script, afternoon romance

E aí, numa seresta na Dois de Dezembro // And then, in a seresta on Dois de Dezembro
me perguntaram por ela: “-Nem lembro…” // They asked me about her, “I don’t even remember,”
eu respondi com um sorriso covarde// I replied with a sheepish grin

Ouvi – que bofetada! – “Morreu duas vezes // Then I heard – what a blow! –  “She died two times –
Uma aqui e agora, a outra há seis meses” // One here and now, the other six months ago”
Balbuciei: “-Morrida ou matada?” // I stammered, “Died or was killed?”

“-Depende do seu conceito de assassinato // “Depends on your understanding of murder
Um pobre amor não é amor barato // A poor love isn’t cheap love
Quem fala de tudo não sabe de nada.”// He who who talks about everything doesn’t know anything”

Na rua do Tijolo, bloco 5, aquele de esquina // On the rua do Tijolo, block 5, that one on the corner
morou uma enfermeira com a chama vital de Ana Karenina // Died a nurse with the vital flame of Ana Karenina

Dirá um dodói que Tolstói era chuva demais pra tão pouca planta // Some nut will say that Tolstoy is ‘too much rain for such little plant’
Ô trouxa, heroínas sem par podem brotar na Rússia ou lá em Água Santa…// Oh fool, heroines beyond compare can sprout up in Russia or out in Água Santa

Aquela mulher que dosava o soro nas veias dos agonizantes // That woman who administered serum into the veins of those in agony
não teve sequer um calmante pra dor sem remédio que aflige os amantes // Had not a single sedative for that pain without remedy that afflicts lovers

Por mais que a literatura celebre figuras em vã fantasia // As much as literature might celebrate figures in empty fantasy
ninguém foi mais nobre que a Pobre da Enfermaria // None was nobler than that Poor lady of the Infirmary

— Commentary —

 

aldir_blanc_Home
Aldir Blanc at his home in Tijuca.

Today, September 2, 2017, is Aldir Blanc‘s 71st birthday, and for the occasion I decided to translate this beautiful song he composed with Jayme Vignoli and released on Vida Noturna (2005). “Lupicínica” serves as yet another testament to Aldir’s exquisite talent for perfectly portraying the grace and grit of life in Rio in his lyrics. In “Lupicínica,” he characteristically weaves together elements of high culture (Tolstoy in this case) and vignettes that depict crude minutia of a working-class existence in Rio’s north zone and exalt its obscure protagonists. There’s plenty on Aldir’s poetic style in previous posts on Aldir, though, so here I’ll just explain a little about this song. Salgado Filho, as you can guess, is a hospital in Méier, a middle/lower-middle-class suburb of Rio de Janeiro; the neighborhood Água Santa is poorer and farther out. Dois de Dezembro is a road in Rio’s more upscale Flamengo neighborhood, and with “Rua do Tijolo” Aldir could be referring to the street by this name in the suburb of Piedade, or to the street where a big condominium complex – Tijolinho – is located in Vila Isabel.  The tale of passion, scorn and death in this song recalls themes common to Lupicínio Rodrigues’s songs; I’m guessing that may be the inspiration for the name.

Jayme Vignoli, who composed the music, is a cavaquinho player, composer and arranger from Rio de Janeiro, a professor at Rio’s Escola Portátil de Música and cavaquinista with several choro groups including Água de Moringa.