Lyrics from “Raízes” by Renato Teixeira (~1992)

Galo cantou // Cock crowed
Madrugada na campina // Dawn on the plain
Manhã menina // Tender morning
Tá na flor do meu jardim // Is on the flower in my garden
Hoje é domingo // Today is Sunday
Me desculpe eu tô sem pressa // Forgive me I’m in no hurry
Nem preciso de conversa // I have no need for conversation
Não há nada prá cumprir // No obligations to fulfill
Passar o dia // Passing the day
Ouvindo o som de umas viola // Listening to the sound of some violas
Eu quero que o mundo agora // I want the world now
Se mostre pros bem-te-vi // To show itself to the bem-te-vi (Great Kiskadee)
Mando daqui das bandas do rural lembranças // I send out from here, from the rural parts, remembrances
Vibrações da nova hora // Vibrations of the new hour
Prá você que não tá aqui // For you, who’s not here
Amanhecer // The break of day
é uma lição do universo // Is a lesson of the universe
Que nos ensina // That teaches us
Que é preciso renascer // That it’s necessary to be reborn
O novo amanhece // The new dawns
O novo amanhece // The new dawns
Já tem rolinha // There are already doves
Lá no terreiro varrido // Out on the brushed-earth yard
E o orvalho brilha // And the dew shines
Como pérolas ao sol // Like pearls in the sun
Tem uma sombra// There’s a shadow
Que caminha pras montanhas // That creeps toward the mountains
Se enfiando feito alma // Slipping like a soul
Por dentro do matagal // Into the bush
E quanto mais // And the more
A luz vai invadindo a terra // The sun spreads over the earth
O que a noite não revela // What the night doesn’t reveal
O dia mostra prá mim // The day shows to me
A rádio agora // The radio now
Tá tocando Rancho Fundo// Is playing Rancho Fundo
Somos só eu e mundo // It’s just me and the world
E tudo começa aqui // And everything begins here
Amanhecer // Daybreak
é uma lição do universo // Is a lesson of the universe
Que nos ensina // That teaches us
Que é preciso renascer // That it’s necessary to be reborn
O novo amanhece // The new dawns
O novo amanhece // The new dawns
— Commentary —
Pena Branca (right) and Xavantinho.
For the second post on songs about Sundays, here’s one of my favorite songs from a beautiful album of caipira, or folk-country, music, Renato Teixeira & Pena Branca e Xavantinho: Ao Vivo em Tatuí (1992). The song was composed by Renato Teixeira, one of Brazil’s most prolific singer-songwriters in the caipira genre. That genre is associated with the countryside of the central and southeastern states of São Paulo, Paraná, Minas Gerais, Goiás, Mato Grosso and Mato Grosso do Sul. But tellingly, Teixeira was born in the city — in Santos, São Paulo. Songs like “Raízes,” or “Roots,” are typical of the caipira revival of the 1980s and ’90s, of which Teixeira was a driving force (for more on that, see this previous post): As more and more rural migrants made their way to greater São Paulo or adjacent cities such as Santos — Brazil became a majority urban country around 1970, and was nearly 70 percent urban by 1980; and greater São Paulo exploded from 2.6 million in 1950, to 8.1 million in 1970, to 15.4 million in 1991 — these popular songs expressed deep longing and cultural affinity for a simpler bygone country life that many may never have experienced firsthand.

The caipira style was typically performed by pairs of brothers, perfectly exemplified by Pena Branca (1939-2010) e Xavantinho (1942-1999), who, like many such duos, began singing together as children on local radio programs in their hometown of Uberlândia, Minas Gerais. In 1968, they moved to São Paulo to pursue a career in music together. There, they were helped by popular performers such as Teixeira and Milton Nascimento, whose “Cio da Terra,” composed with Chico Buarque, they popularized with a 1980 recording. (Here they are performing that song with Milton in 1987: https://youtu.be/3BDTbOnC8-I)

The brothers resisted crossing over into the more commercial sertanejo, or (modern) country, genre, and continued performing together in the traditional caipira style until Xavantinho’s early death in 1999, at age 56, from complications from a motorcycle accident five years earlier. The violas they played, and that are referenced in the lyrics, are the ten-string guitar typical of this style.

“Rancho Fundo” in the song refers to the classic Brazilian song “No Rancho Fundo” (1931), by Ary Barroso and Lamartine Babo, which has a similarly nostalgic and romanticized caipira theme. In 1989, the popular duo Chitãozinho e Xororó released a typically caipira version of the song, cementing its place in the caipira canon. The bem-te-vi  bird referenced in the song is one of the most common in Brazil, and one of the first to begin singing at daybreak, which probably explains its popularity in Brazilian folk song.

A vida é uma só (pare de tomar a pílula)

Lyrics from “A vida é uma só (pare de tomar a pílula)” by Odaír José (1973)



Já nem sei há quanto tempo // I don’t even know how long it’s been
Nossa vida é uma vida só// Our life is only one
E nada mais// And nothing more

Nossos dias vão passando// Our days go passing by
E você sempre deixando// And you’re always leaving
Tudo pra depois// Everything for later

Todo dia a gente ama// Every day we love one another
Mais você não quer deixar nascer// But you don’t want to give birth
O fruto desse amor//To the fruit of that love

Não entende que é preciso// You don’t understand that we need
Ter alguém em nossa vida// Someone in our life
Seja como for// No matter what

Você diz que me adora// You say you adore me
Que tudo nessa vida sou eu// That I’m everything in this life
Então eu quero ver você// So I want to see you
Esperando um filho meu// Carrying my child
Entao eu quero ver você// So I want to see you
Esperando um filho meu// Carrying my child

Pare de tomar a pílula!// Stop taking the pill!
Pare de tomar a pílula
Pare de tomar a pílula
Porque ela não deixa o nosso filho nascer (3x)// Because it keeps our child from being born

— Commentary —

Image result for odaír josé música brega
Odaír José, c. 1973.

Most people associate protest music during Brazil’s dictatorship (1964-85) with MPB singers like Chico Buarque, Geraldo Vandré, and Elis Regina. But even songs like this one, from the brega (corny, cheesy, lowbrow…) genre — an over-the-top romantic style from the northeast — were vehicles of resistance. Composers of brega ballads critiqued racism, social inequality, and the social conservatism of the regime, and advocated for things such as the legalization of divorce (only passed through a constitutional amendment known as the “divorce law” in 1977). Their songs represented a major channel for political discourse among Brazil’s poorest populations.

This song serves as a perfect example. The military government treated the impoverished northeast as a problem: an overpopulated and undercivilized hinterland that bred radical peasants and hindered the country’s drive toward order and progress. To try to stamp out that problem without instituting meaningful social reforms, the regime pushed birth control pills and IUDs across the region. State-sponsored population-control programs attempted to win hearts and minds with the uninspired slogan “take the pill with lots of love” (tome a pílula com muito amor); this song responded with “stop taking the pill!”

The song was catchy, irreverent, and amusing, and was a runaway hit. After a while, the military regime’s censors caught on to the ruse and did not find it amusing: the song was banned and the discs were taken out of circulation.

Like Chico Buarque, who continued to perform banned songs such as “Cálice” and “Apesar de você,” José continued to sing this one at shows. But after a run-in with an angry general who told him, “if you’re not satisfied with the country, leave,” José opted to leave, and went into exile in England.

The late sixties and early seventies were the worst period of Brazil’s dictatorship, known as the “years of lead” (anos de chumbo). Things began to change in 1974, when General Ernesto Geisel took office as president. More moderate than the hardliners who had ruled since ’67,  Geisel began a gradual liberalization program known as “distensão,” which sought to slowly reintroduce some (uncertain) degree of political liberties. Under that aegis, the mid-seventies saw a loosening of censorship and repression, and Odaír José returned to Brazil. His song, meanwhile, experienced a resurgence of popularity in the mid-nineties, when it was the unlikely soundtrack for a C&A department-store commercial that aired throughout Brazil; legions of teenage boys began singing it again, with no clue as to its original context.

Main source for this post: Eu Não Sou Cachorro, Não,  by Paulo César Araújo.

“Saudosa Maloca” & “Torresmo à Milanesa”

Lyrics from “Saudosa Maloca” by Adoniran Barbosa (1951), interpreted by Adoniran Barbosa & Conjunto do Nelson Miranda


Saudosa maloca // Dear old hut
Maloca querida // Beloved hut
Onde nóis passemos // Where we spent
Dias feliz de nossa vida // Happy days of our life

Se o sinhô não tá lembrado / If you are not recalling, sir
Dá licença de contá // Please do let me tell
Qui aqui onde agora está esse edifício artu // That here where this tall building stands
Era uma casa veia um palacete assobradadu // There was an old house, a two-storey’d palace
Foi aqui seu moço// It was here, my boy
Que eu, Mato Grosso e o Joca // That I, Mato Grosso and Joca
Construímos nossa maloca // Made our quarters
Mas um dia nem quero lembrar // But one day, I don’t even want to think of it
Chegô os homeis com as ferramenta // The men with the tools came
o dono mandô derrubá // The owner ordered it torn down
Peguemo’ tuda nossas coisas // We took all our things
E fumos pro meio da rua // And went out to the middle of the road
Ispiá [espiar] a demolição // To watch the demolition
Que tristeza que eu sentia // What sorrow I felt
Cada tauba [tábua] que caia // Every board that fell
Doía no coração // Hurt in my heart
Mato Grosso quis gritar // Mato Grosso wanted to scream
Mas em cima eu falei // But over him I said
O hômiis tá ‘cá razão // The men they got reason
Nós arranja outro lugar // We’ll find another place
se conformemos quando o Joca falou // We only accepted it when Joca said
“Deus dá o frio conforme o cobertor”// “God deals out cold based on the size of the blanket”
E hoje nóis pega páia nas grama do jardim // And today we collect straw in yards of the garden
E pra esquecê nóis cantemos assim // And to forget, we sing like this
Saudosa maloca, maloca querida // Good old hut, dear hut
Onde nóis passemos dias feliz da nossa vida // Where we spent happy days of our life (3x)


Lyrics from “Torresmo à Milanesa” by Adoniran Barbosa and Carlinhos Vergueiro (1979)


O enxadão da obra bateu onze hora // The hoe of the construction site just struck 11 o’clock
Vam s’embora, joão! // Les’go, João
Vam s’embora, joão! // Les’go, João

Que é que você troxe na marmita, Dito? // What’d you bring in your lunch box, Dito?
Troxe ovo frito, troxe ovo frito // I brought fried egg, I brought fried egg
E você beleza, o que é que você troxe? // And you, beauty, What’d you bring?
Arroz com feijão e um torresmo à milanesa // Rice with beans and a pork rind à milanesa
Da minha Tereza! // From my Tereza!

Vamos armoçar // Let’s have lunch
Sentados na calçada // Sitting on the sidewalk
Conversar sobre isso e aquilo // Talk about this and that
Coisas que nóis não entende nada // Things we don’t know nothing about
Depois, puxá uma páia // And afterwards hit the hay
Andar um pouco // Take a little stroll
Pra fazer o quilo // To aid digestion

É dureza João! // Ain’t it tough, João! (4x)

O mestre falou // The master said
Que hoje não tem vale não // That today there’s no lunch pass
Ele se esqueceu // He forgot
Que lá em casa não sou só eu // That it’s not just me at home!

— Commentary —

Screen Shot 2019-02-12 at 1.40.17 PM
Adoniran Barbosa with the vocal group Demônios da Garoa, who were the first to record and popularize many of his songs.

I translated “Saudosa Maloca” to show some of my students so decided to take advantage and make a post out of it!

Adoniran Barbosa’s “Trem das Onze” (translated in an old post here) is his song that has achieved the greatest success outside of São Paulo — specifically in the territorial samba circles of Rio — but “Saudosa Maloca” is probably his most iconic and beloved samba among his fellow paulistasThe version included above was the first recording, but the song only became a hit with this 1955 recording by the vocal group Demônios da Garoa:

That group’s role in popularizing Adoniran’s sambas has generated some controversy in recent years, as members of the present-day iteration of the group have claimed that Demônios was responsible for inventing the “‘narfabeto” (illiterate Italian-inflected) style of singing that Adoniran became famous for. The 1951 recording reveals there is little truth to that claim.

Both of these songs address the rapid expansion of urban Brazil — specifically São Paulo — in the early to mid-twentieth century, and the hard lives of those who built the city but had trouble finding a place in it.

Italian immigrants at a shelter in São Paulo c. 1890. Most immigrants passed through these special shelters before continuing on to coffee plantations. Image via Wikimedia Commons.

As this earlier post explains, Barbosa was born João Rubinato in 1912 to Italian immigrant parents in the interior of São Paulo state. As millions of Italian immigrants arrived in the United States between 1870 – 1930,  about 4 million more went to South America. Most went to Argentina, but approximately a hundred thousand (exact numbers are hard to come by) disembarked in Brazil. Most of these families, including Barbosa’s, first settled in rural areas to work on and around Brazil’s booming coffee plantations. But as the themes of Barbosa’s songs highlight, most soon ended up seeking better economic possibilities in growing cities.

Italian immigrants selling fruit in the Mooca neighborhood of São Paulo, 1920. Image via Museu da imigração.

As mentioned, Barbosa was famous for composing and singing in the Italian-inflected rural style of speech he grew up with, which is still common all around São Paulo, especially in the rural interior of the state.  I’ve put those words/phrases in bold in the original Portuguese lyrics; it’s things like pronouncing an “r” in place of an “l” (e.g. “armoçar” instead of “almoçar,” to have lunch) and mis-conjugating verbs (e.g., “fumos” instead of “fomos,” we went; “se conformemos” instead of “nos conformamos,” and “nois pega” instead of “nós pegamos.”)  I hope that gives a picture. In a few places I’ve tried to translate into parallel English to add a little of that flavor.

“Maloca” is a pretty hard word to translate. The word originally referred to an indigenous communal dwelling, and can connote an improvised dwelling and the concept of “home.” In this song, I believe it refers to something like squatters’ quarters, set up in the old house that gets torn down.  I haven’t been able to come up with any word in English that would carry all of the same connotations without giving an idea of much greater luxury than “maloca,” so I’ve just left it translated as hut, and “quarters” in one place.

“Saudoso/a” is of course also a challenge: it comes from the notoriously untranslatable word “saudade.” Saudoso is one of my favorite derivatives of saudade. It is often used in the way we use “late” (as in dead) in English, but is much more elegant and appropriately sentimental. (For occasions when no sentiment is called for, the word “falecido/a” might be substituted.)

The phrase “fazer o quilo” is, according to the Internet, a popular corruption of “fazer o quimo,” which refers to chymotrypsin, a chemical responsible for digestion.

In the mid-twentieth century there was a tremendous amount of construction in the centrally located neighborhoods of São Paulo known as Jardins (Gardens): Jardim Paulista, Jardim Europa, Jardim America, etc. Those neighborhoods quickly became some of the city’s wealthiest. In the line “we collect straw in the yards of the garden” (i.e. work clearing yards), “garden” probably refers to that construction boom.

Barbosa and his friend Carlinhos Vergueiro composed “Torresmo à Milanesa” in a bar in 1979. The song apparently began as “Bife à Milanesa,” but Barbosa suggested last minute that they change it to “torresmo à milanesa” to make it more comical, since pork rinds à milanesa doesn’t exist. He then suggested they also change it to “um torresmo à milanesa” — a single pork rind — because that’s “sadder.”

A final note on that song: an enxadão is a hoe. Here it might be referring to some other similar tool from a construction site, but I’m assuming the lyrics mean that a boss struck the time using a hoe (or similar instrument) so that the sound would reverberate across the construction site.