Music Alegria, Alegria, by Caetano Veloso: analysis and history
Some of the most famous music by Caetano Veloso, Happiness happiness It was presented in the Record Festival in the year 1967.
A song was a framework of the Tropicalist movement, which had Caetano Veloso, Gilberto Gil and Os Mutantes as some two serious leaders.
By letter, extremely contemporary and with touches of pop culture, it was quickly embraced by public hair and Alegria, Alegria virou logo um enormous successso. Despite the fact that it became a wanted audience, it was a song in the fourth place not in the contest.
Lyrics
Walking against or wind
Sem lenço, sem document
No sun of quase dezembro
Eu vou
Or the sun is distributed in crimes
Espaçonaves, guerrilhas
Pretty cardinals
Eu vou
Em faces of presidents
Em big beijos of love
Em dentes, pernas, bandeiras
Bomba e Brigitte Bardot
Or sun with magazine benches
I was filled with joy and preguiça
What a lot of news
Eu vou
Through photos and nomes
Os olhos cheios de cores
O peito cheio of loves you
Eu vou
Why not, why not
She thinks about marriage
I never went to school again
Sem lenço, sem document
Eu vou
I take a coca-cola
She thinks about marriage
And a song consoles me
Eu vou
Through photos and nomes
Sem light e sem fuzil
Sem fome sem telefone
No heart of brazil
Ela nem knows até thoughti
To sing on television
Or sun is so beautiful
Eu vou
Sem lenço, sem document
Nothing no bag or no mine
I want to keep living, love
Eu vou
Why not, why not
Analyze the lyrics
Caetano Veloso's revolutionary lyrics begin with verses that suggest freedom, despite the harsh political context of the country.
To sing "Caminhando contra o vento", or eu-lrico faz do vento, a metaphor for the military dictatorship, which has established censorship and repression in the country. O gerúndio do verb caminhar prints a notion of continuous movement, despite all the adversities.
No verse to follow
Sem lenço, sem document
We see the questão do anonymity, or eu-lrico walk as a little subject qualquer nas ruas da cidade.
Second or own Caetano Veloso not free True Tropical, em Happiness happiness we see "a portrait, na first pessoa, of a typical young man of the time walking around the streets of the city com fortes visual suggestions, maids, is possible for simple mention of names of products, personalities, places and functions ".
Observing or verse that you see logo in front ("No sol de quase dezembro"), or composer situates or ouvinte no tempo e no espaço: já faz clima de verão e é dezembro.
So let's say or forte refrão that is repeated over the years of all music:
Eu vou
Note how the verb tempos used over the years of the lyrics are practically all not present. Caetano uses the non-present verbs to narrate or here and or agora. Happiness happiness This summary of life in Brazil from that time, pretends to be a record of its historical time.
A song go ahead and observe some references to popular culture:
Or the sun is distributed in crimes
Espaçonaves, guerrilhas
Pretty cardinals
Eu vou
Cardinales is a reference to Claudia Cardinale, a very beautiful Italian actress who was very popular during the sixties.
Atriz was an icon of the time and ended up having or her surname appropriated by Caetano to refer to the beautiful women of her birth.
This is not the only passage that faces another mention to an important actress. Some verses to follow arise or not from Brigitte Bardot:
Em faces of presidents
Em big beijos of love
Em dentes, pernas, bandeiras
Bomba e Brigitte Bardot
A French actress was also very celebrated during the sixties.
A presença de nomes estrangeiros ao longo da music não é casual: os tropicalistas defendiam to cannibalization of foreign culture, the incorporation of elements from the country face part of an aesthetic and political project.
Still failing in politics, in this stretch of song we see the banners and the two presidents mixed with elements not expected such as teeth and legs. We can say that the eu-lyric is not properly a deceived politician, a theory that is confirmed logo face to face:
Or sun with magazine benches
I was filled with joy and preguiça
What a lot of news
Eu vou
Here I start everyday banality, or Eu-lyrical confesses to his lack of energy to deal with the news, that he preferred to receive subjection through the machetes that he read, hanging from the benches.
It seems that or subject to political news from the world through just a few seconds standing in front of the first page of the newspaper or magazine.
One other possible reading is that this stretch is critical of the alienation of the massa, which did not seek to delve us into the news events.
Through photos and nomes
Os olhos cheios de cores
O peito cheio of loves you
Eu vou
Why not, why not
The verses acima falam do excess de informação: rostos, nomes, cores, amores. A contemporary world that transshipments given that many times you see the face as the little subject feels lost.
Diante dessa boiling of images and sentiments, or eu-lrico decides to leave, rumo to a place that does not know where it is.
I take a coca-cola
She thinks about marriage
I never went to school again
Sem lenço, sem document
Eu vou
Two verses mention or refrigerant that this icon gives pop culture and symbol of North American imperialism. The image is also used here as a portrait of the everyday, a record of a banal moment from day to day.
This is a few moments of the song where a parceira appears. We do not know anything about - or do not know, some physical characteristic - we only have information that she wishes to marry (would it be or would it be an idealization of women for the geração?).
The verses to follow are repeated, with just a brief alteration: when he thinks about marriage, or eu-lyrical ouve a song that or console. And with this sonorous trilha from the bottom of the resolve to leave.
A amada é novamente lembrada quase no final gives music:
Ela nem knows até thoughti
To sing on television
Or sun is so beautiful
Eu vou
Caetano here sublimates to the presence of two mass communication messages. The lyrics are humorous because it illustrates precisely what the singer faces with music: he sings on television. It is worth noting that Alegria, Alegria was presented at the Festival da TV Record.
The eu-lyrical volta then to verify the beauty of the day of the fora - or the sun - and reaffirms the desire to leave.
Once again, you submit to your condition of anonymous and guarantor that you do not wish to carry anything for your new place:
Sem lenço, sem document
Nothing no bag or no mine
I want to keep living, love
Eu vou
Why not, why not
Or verse "Nothing no bag ou nas mãos" was thrown directly from the last page of As words, Sartre's autobiography. Therefore, it deals with an appropriation of high culture feita hair singer from Bahia who inserts the words in the middle of a popular letter.
Alegria, Alegria é, before tudo, a political and social manifestation of a recent generation devastated by the military crush. On the other hand, timeless, the letter of Caetano frisa also a universal necessity felt young hairs to leave rumo ao novo.
Historic context
1967 was a special year for Brazilian music. Nesse ano Gilberto Gil apresentou a song Sunday no Park e também em 67 Caetano surgiu com Happiness happiness.
Or young Caetano has barely 25 years when he went up to the box to try to win the maximum prize of the Festival. The singer joined the Beat Boys band (a Brazilian rock group made up of Argentine musicians) to participate in the presentation.
During the exhibition, the Baiano singer and the Beat Boys used electric guitars, a novelty for that historical period. Até então to electric guitar was repudiated for being a symbol of North American culture.
Controversial and challenging, the song was found in fourth place and its author received five thousand of cruzeiros velhos.
A presentation of Caetano, feita no day 21 October 1967, it is available online:
The backstage of the breeding
Caetano confessou no seu livro True Tropical As the foi or frame of the breeding that would become a symbol of Tropicalism:
I decided that no festival of 67 we would deflagrate a revolution. I do not have a Solar da Fossa apartment, I started to compose a song that we wanted to be easy to learn by part two. festival spectators and, ao same tempo, unequivocally characterized the nova atitude that we wanted to inaugurate (...) Tinha que ser uma joyful marchinha, somehow contaminated international pop hair, and tracing a letter to some critical-loving touch on the world where it is pop dava.
About the escort of the title of the song
The title chosen for the music is deeply ironic and curiously, it does not appear a long time in the lyrics.
Até hoje, many people think that the title of the song is "sem lenço, sem document", two serious verses mais fortes.
O bordão "joy, joy!" He was frequently used as an entertainer / presenter of radio and television station Chacrinha. His program was very popular and the phrase, repeated many times, entered for the collective unconscious and was appropriated by Caetano.
To Tropicália
The tropicalist movement began to win people in 1967, but it has won a higher proportion of some years to follow. Fizeram part of the great nominees of MPB such as Gilberto Gil, Tom Zé and Gal Costa.
Artists will try to reinvent music, receiving influences from young culture, mainly national and foreign pop. Thus, the letters will go on to refletting quests of their own time and wanting to debate aspects of the day-to-day.
Between you, two artists were to internationalize the national culture and return to the origins of Brazil. Innovation and experimentation for other two precious characteristics, two tropicalistas.
The artists give us a lot of time with Oswald de Andrade, Veloso affirmed in an interview:
The idea of Serbian cultural cannibalism was tropicalist years like a luva. We are "eating" the Beatles and Jimmy Hendrix. Our arguments against the defensive attitude of two nationalists find here a succinct and exhaustive formulation. Of course, we will apply latitude and intensity, but not be careful, and we will try, at each step, to rethink what we adore.
Young artists pretendiam, acima de tudo, make a record of your tempo. It is worth noting that the country lived through heavy years of life, which began in 1964 as a military coup.
A key event for the Tropicalists was the publication of a manifesto called “Crusade Tropicalista”, published by Nelson Motta on a non-daily basis for the Last Hour of Rio de Janeiro.
Contrary to what is customary, or Tropicalism does not happen with music and opens diverse universes of culture such as plastic arts, literature, theater and cinema.
You Festivais da Canção
During the sixties, Rede Record invented the Brazilian Popular Music Festivities.
On television, the programs shown make visible to a series of artists who sign up to sing their own music. During the first years of the military, that was a peculiar space of relative freedom.
Alegria, Alegria was presented in the third Brazilian Popular Music Festival of Record. It was 1967 and immediately popular ganhou music was sung by the public.
Caetano e o exílio
When he sang Alegria, Alegria, in 1967, Caetano expressed himself halfway through a wide range of events despite the military regime.
At the same time, it was going through the policies, toughening up what, as Institutional Ato number 5, launched in December 1968, to a situation opened from time to time.
Nesse mesmo ano - a year depois de ter sung Alegria, Alegria - Caetano and Gilberto Gil were imprisoned and, when freed, they will resolve to go into exile in England.
Conheça also
- Music Pra não dizer que não falei das flores, by Geraldo Vandré
- Cálice music by Chico Buarque
- Caetano Veloso: music and biography
- As major music from Tropicália
- Famous music about a Brazilian military leader
