Adoniran Barbosa, artistic name of João Rubinato (6 August 1910 – 23 Novemb… Read Full Bio ↴Adoniran Barbosa, artistic name of João Rubinato (6 August 1910 – 23 November 1982), was a noted Brazilian São Paulo style samba singer, composer and also a comedian and actor.
Rubinato represented several characters on radio programs, including Adoniran Barbosa, who ended up being confused with his creator due to his great popularity. Adoniran became nationally known as the father of samba made in São Paulo.
Early Years
João Rubinato was the seventh child of Francesco (Fernando) Rubinato and Emma Ricchini, Italian immigrants from Cavarzere (province of Venice). His parents had settled in Valinhos, a rural town in the state of São Paulo, about 70 km from the city of São Paulo. In 2010, two bridges were named after Rubinato: one located in Valinhos, Brazil, where the singer was born, and another in Cavarzere, Italy.
He is said to have been a rather reluctant student, and started working at an early age (which required falsifying his birth date). His first job was a sweeper boy and general helper at a railway company in the nearby town of Jundiaí. In 1924 he moved to Santo André, a town in the Greater São Paulo area, where he went through many jobs — loom operator, painter, plumber, iron worker, peddler and waiter. At a local technical school (the Liceu de Artes e Ofícios) he learned the office of mechanical assistant.
Debut as composer and singer
In 1933 João Rubinato moved to the city of São Paulo, where he started composing songs and tried his luck as a singer in Cruzeiro do Sul radio station, in a talent-scouting show directed by Jorge Amaral. After many failures, he finally succeeded with the Noel Rosa’s samba “Filosofia”, and got a contract for a weekly 15-minute show.
Fearful that a samba artist with an Italian surname would not be taken seriously by the public, João Rubinato then decided to adopt a more Brazilian-sounding name. So he borrowed the unusual "Adoniran" from one of his friends, and "Barbosa" from samba composer Luiz Barbosa, his idol.
In 1935 he won a Carnaval song contest sponsored by the city of São Paulo, with the samba Dona Boa, composed together with J. Aimberê. Spirited by that success, he married his longtime girlfriend Olga. The couple had a daughter, Maria Helena, but the marriage broke up in less than one year.
At “Radio Record”
In 1941 he started performing comedy in the radio theater programs of the São Paulo radio station Rádio Record, — which would later become one of the top television and radio networks of Brazil — Rede Record. He remained with that network until his retirement in 1972; giving his voice to various popular characters created together with writer Osvaldo Moles, like: Pernafina, Zé Cunversa, and Jean Rubinet (a parody of a French movie star). He also played parts in the movies: Pif-Paf (1945) and Caídos do Céu ("Fallen from Heaven") (1946), both directed by Ademar Gonzaga. In 1949 he married Matilde de Lutiis, who would be his companion and co-author for the next 50 years.
Success
His first success as a composer became a well-known song on samba circles, in concert halls: "Trem das Onze". It is quite possible that every Brazilian knows, if not the entire song, at least the chorus, which became timeless and a Brazilian classic. With this song Adoniran achieves the desired success, which, however, is short-lived and does not earn him more than a few changes in copyright. The song, which had already been recorded by the author in 1951 and had yet to be a hit, is re-recorded by Demônios da Garoa, or “Drizzle Devils” - a musical group from São Paulo, a city known as the land of drizzle, of fog, hence the groups’s name. Although the group is from São Paulo, the song first becomes a hit in Rio de Janeiro, with resounding success.
Astute observer of human activities, he also knows that the public is not content with just the drama of destitute and lonely people; it is necessary to give this audience a dose of humor, even if bitter. He composes one of his most notable sambas for this audience, one of the first in which he worked on the new aesthetics of samba.
In 1953 he made a fine performance in the movie O Cangaceiro, by director Lima Barreto. In the early 1950s he wrote many songs on typical São Paulo themes, most of them recorded by the band Demônios da Garoa, and won two other São Paulo Carnaval contests. In 1955 he introduced the enormously popular character Charutinho ("Short Cigar") in the radio humor show Histórias das Malocas ("Shantytown Stories").
Adoniran also acted in some of the earliest Brazilian soap operas (telenovelas), such as A Pensão de D. Isaura ("Ms. Isaura's Boarding Home"), and comic programs like Ceará contra 007 ("Ceará against 007") and Papai Sabe Nada ("Daddy Knows Nothing").
Later years and legacy
In spite of the success of his songs and radio characters, Adoniran only became a star of sorts after 1973 when he recorded his first own album. That made him respected as a major composer, and gave him some media exposure. Nevertheless, through his career he continued living a simple and happy life. He had earned a private table at the Bar Brahma, one of the city's most traditional bars.
While he never lost his love of São Paulo, towards the end of his life he became increasingly sad about the disappearance of its traditional character.
He once said: "Until the 1960s, São Paulo still existed, but since then I have been looking for it, and could not find it. Brás, where is Brás now? And Bexiga, where is it? I was told to look for the Sé. Could not find it. All I see is cars and concrete."
Between his attempt at a career on São Paulo radio stations and his first success, Adoniran worked hard, got married twice and frequented the nightlife like a bohemian. In the comings and goings of his career he had to overcome several difficulties. The work on Brazilian radio is little recognized and financially unstable, many musicians spent years in radios’ corridors having a melancholic and miserable end of life. The vehicle that enchanted crowds at the time, made idols of several musicinas is as cruel as life; After the success that, for many, is only nominal - ostracism and the absence of legal protection lead singers, composers and actors to a situation of unthinkable penury.
While his music continued to be played, Adoniran himself was gradually forgotten by the public; so that when he died in 1982, in relative poverty, he had at his side only his wife and a brother in law. However, almost 30 years after his death he is still remembered by popular Brazilian singers like Perci Guzzo, who occasionally performs his songs in tribute.
Music
Themes
Adoniran Barbosa made good on the hardships of his youth by becoming the composer of the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, and the poor who lived in the city's many malocas (the shanties of favelas) and cortiços (degraded multifamily row houses).
The themes of his songs are drawn from the life of low-wage urban workers, the unemployed and the vagabonds. His first big hit was Saudosa Maloca ("Shanty of Fond Memories", 1951), where three homeless friends recall with nostalgia their improvised shanty, which was torn down by the landowner to make room for a building. His next success Joga a Chave ("Throw me the Doorkey", 1952) was inspired on his own frequent experiences of arriving late at home and finding the door locked by his wife, Matilde. In his Trem das Onze ("The 11 pm Train", 1964), which has been ranked one of the five best samba songs ever, the protagonist explains to his lover that he cannot stay any longer because he has to catch the last train to the Jaçanã suburb, and besides his mother will not sleep before he arrives.
Adoniran’s Language
Unlike the samba songs of the previous decades, which generally used the formal Portuguese of the educated class, Adoniran's lyrics are a realistic record of the informal speech of São Paulo's lower classes. He once said "I only write samba for the common people. That is why I write lyrics in 'wrong' Portuguese, because that is how the common people speak. Besides, I feel that samba is more beautiful when sung that way". The homeless narrator of his Saudosa Maloca, for example, tells of the day when his shanty was torn down by the landowner:
Peguemo todas nossas coisa, "We picked up all our belongings
E fumo pro meio da rua And we went out on the street
Apreciá a demolição. To watch the demolition.
Ai, que tristeza que nós sentia, Ah, what a sorrow we felt,
Cada tauba que caía Each plank as it fell
Doía no coração... Hurt us in the heart..."
The peguemo instead of pegamos, fumo instead of fomos, nós sentia instead of nós sentíamos, and tauba instead of tábua were all standard features of the speech of many paulistas. Yet, because of the strong social prejudice attached to such "bad" Portuguese, few if any authors before Adoniran had dared to put those "errors" in writing. Even lyrics ostensibly sung by poor favela dwellers, such as the classic samba Chão de Estrelas ("Starry Floor"), were paragons of correct grammar and pronunciation.
Thus Adoniran's use of "real" Brazilian Portuguese was a revolution that may be comparable to Gershwin's use of Gullah in Porgy and Bess. Indeed, he was often strongly criticized for it, even by poet and composer Vinícius de Moraes (of The Girl from Ipanema fame)[citation needed]. But Adoniran did not mind his critics, and his mastery allowed him to break with convention: as he used to say, art was required to sing in "wrong" language. And the success of his most popular songs, such as Tiro ao Álvaro (1960), was undoubtedly due in good part to the warmth and naturalness of its language.
Barbosa was known as the composer to the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, as well as the poor who lived in the city's many shanties and cortiços (degraded multifamily row houses). He knew well the Italian-Portuguese pidgin spoken in the streets of São Paulo, mostly in the sections of Mooca, Brás and Bexiga. In 1965, Barbosa wrote "Samba Italiano" (Italian Samba), a song that has Brazilian rhythm and theme, but Italian lyrics with some words with Brazilian influence. See Wikipedia entry for more examples
Musical style
His favorite musical style is the samba paulista, the samba of São Paulo, generally despised by the sambistas of Rio de Janeiro. A feature of this style is the samba de breque ("brake samba"), where the music is suddenly interrupted to make space for a few spoken words, or a sudden reversal in the melodic line. For example, one of his great successes, the "Samba do Arnesto" ("Arnest's Samba", 1953) begins:
O Arnesto nus convidou prum samba, ele mora no Brás.
"Arnest invited us for a samba, he lives in Brás.”
The melodic line is suspended briefly for the phrase “ele mora no Brás”, which marks it as a parenthetical remark – not only in the lyrics, but in the music as well.
Compositions
"Malvina", 1951
"Saudosa maloca", 1951
"Joga a chave", with Osvaldo Moles 1952
"Samba do Arnesto", 1953
"Pra que chorar", with Matilde de Lutiis
"A garoa vem descendo", with Matilde de Lutiis
"As mariposas", 1955
"Iracema", 1956
"Apaga o fogo Mané", 1956
"Um Samba no Bexiga", 1957
"Bom-dia tristeza", 1958
"Abrigo de vagabundo", 1959
"No morro da Casa Verde", 1959
"Prova de carinho", 1960
"Tiro ao Álvaro", with Osvaldo Moles 1960
"Luz da light", 1964
"Trem das Onze", 1964
"Agüenta a mão", 1965
"Samba Italiano", 1965
"Tocar na banda", 1965
"Pafunça", with Osvaldo Moles 1965
"O casamento do Moacir", 1967
"Mulher, patrão e cachaça", 1968
"Vila Esperança", 1968
"Despejo na favela", 1969
"Fica mais um pouco, amor", 1975
"Acende o candieiro", 1972
"Uma Simples Margarida" ("Samba do Metrô")
"Já Fui uma Brasa"
"Rua dos Gusmões"
Adoniran also left some 90 unpublished lyrics, which are being posthumously set to music by various composers.
Compilation Albums
Raízes do samba is a series of compilation albums of notable Brazilian musicians, mostly of the bossa nova, samba and Tropicalismo genres.
Death
Adoniran Barbosa died on November 23, 1982, aged 70, during a hospital stay for treatment of pulmonary emphysema. He was survived by his companion of over forty years, Matilde de Lutiis, and his only daughter Maria Helena Rubinato (b. 1937, d. 2021) with his former wife Olga Krum (div. 1943, d. 1991).
He was buried in the Cemetery of Peace, as per Adoniran's wish.
Homages
Public Spaces
Besides the Museu Adoniran Barbosa (located at at Rua XV de Novembro, 347 in São Paulo), there are many mementos of the composer scattered through São Paulo. Places named after Adoniran induce: a school in Itaquera, a street in the borough of Bexiga, a bar named Bar Adoniran Barbosa, and a square. In Don Orione Square there is a bust of the artist, and in Jaçanã neighborhood there is a street called "Rua Trem das Onze” (11 PM Train Street), after the lyrics of his biggest hit.
On 6 August 2016, Google Doodle commemorated his 105th birthday.
Sources:
- Brazilian Portuguese: https://en.m.wikipedia.org/wiki/Adoniran_Barbosa
- English: https://en.m.wikipedia.org/wiki/Adoniran_Barbosa
Rubinato represented several characters on radio programs, including Adoniran Barbosa, who ended up being confused with his creator due to his great popularity. Adoniran became nationally known as the father of samba made in São Paulo.
Early Years
João Rubinato was the seventh child of Francesco (Fernando) Rubinato and Emma Ricchini, Italian immigrants from Cavarzere (province of Venice). His parents had settled in Valinhos, a rural town in the state of São Paulo, about 70 km from the city of São Paulo. In 2010, two bridges were named after Rubinato: one located in Valinhos, Brazil, where the singer was born, and another in Cavarzere, Italy.
He is said to have been a rather reluctant student, and started working at an early age (which required falsifying his birth date). His first job was a sweeper boy and general helper at a railway company in the nearby town of Jundiaí. In 1924 he moved to Santo André, a town in the Greater São Paulo area, where he went through many jobs — loom operator, painter, plumber, iron worker, peddler and waiter. At a local technical school (the Liceu de Artes e Ofícios) he learned the office of mechanical assistant.
Debut as composer and singer
In 1933 João Rubinato moved to the city of São Paulo, where he started composing songs and tried his luck as a singer in Cruzeiro do Sul radio station, in a talent-scouting show directed by Jorge Amaral. After many failures, he finally succeeded with the Noel Rosa’s samba “Filosofia”, and got a contract for a weekly 15-minute show.
Fearful that a samba artist with an Italian surname would not be taken seriously by the public, João Rubinato then decided to adopt a more Brazilian-sounding name. So he borrowed the unusual "Adoniran" from one of his friends, and "Barbosa" from samba composer Luiz Barbosa, his idol.
In 1935 he won a Carnaval song contest sponsored by the city of São Paulo, with the samba Dona Boa, composed together with J. Aimberê. Spirited by that success, he married his longtime girlfriend Olga. The couple had a daughter, Maria Helena, but the marriage broke up in less than one year.
At “Radio Record”
In 1941 he started performing comedy in the radio theater programs of the São Paulo radio station Rádio Record, — which would later become one of the top television and radio networks of Brazil — Rede Record. He remained with that network until his retirement in 1972; giving his voice to various popular characters created together with writer Osvaldo Moles, like: Pernafina, Zé Cunversa, and Jean Rubinet (a parody of a French movie star). He also played parts in the movies: Pif-Paf (1945) and Caídos do Céu ("Fallen from Heaven") (1946), both directed by Ademar Gonzaga. In 1949 he married Matilde de Lutiis, who would be his companion and co-author for the next 50 years.
Success
His first success as a composer became a well-known song on samba circles, in concert halls: "Trem das Onze". It is quite possible that every Brazilian knows, if not the entire song, at least the chorus, which became timeless and a Brazilian classic. With this song Adoniran achieves the desired success, which, however, is short-lived and does not earn him more than a few changes in copyright. The song, which had already been recorded by the author in 1951 and had yet to be a hit, is re-recorded by Demônios da Garoa, or “Drizzle Devils” - a musical group from São Paulo, a city known as the land of drizzle, of fog, hence the groups’s name. Although the group is from São Paulo, the song first becomes a hit in Rio de Janeiro, with resounding success.
Astute observer of human activities, he also knows that the public is not content with just the drama of destitute and lonely people; it is necessary to give this audience a dose of humor, even if bitter. He composes one of his most notable sambas for this audience, one of the first in which he worked on the new aesthetics of samba.
In 1953 he made a fine performance in the movie O Cangaceiro, by director Lima Barreto. In the early 1950s he wrote many songs on typical São Paulo themes, most of them recorded by the band Demônios da Garoa, and won two other São Paulo Carnaval contests. In 1955 he introduced the enormously popular character Charutinho ("Short Cigar") in the radio humor show Histórias das Malocas ("Shantytown Stories").
Adoniran also acted in some of the earliest Brazilian soap operas (telenovelas), such as A Pensão de D. Isaura ("Ms. Isaura's Boarding Home"), and comic programs like Ceará contra 007 ("Ceará against 007") and Papai Sabe Nada ("Daddy Knows Nothing").
Later years and legacy
In spite of the success of his songs and radio characters, Adoniran only became a star of sorts after 1973 when he recorded his first own album. That made him respected as a major composer, and gave him some media exposure. Nevertheless, through his career he continued living a simple and happy life. He had earned a private table at the Bar Brahma, one of the city's most traditional bars.
While he never lost his love of São Paulo, towards the end of his life he became increasingly sad about the disappearance of its traditional character.
He once said: "Until the 1960s, São Paulo still existed, but since then I have been looking for it, and could not find it. Brás, where is Brás now? And Bexiga, where is it? I was told to look for the Sé. Could not find it. All I see is cars and concrete."
Between his attempt at a career on São Paulo radio stations and his first success, Adoniran worked hard, got married twice and frequented the nightlife like a bohemian. In the comings and goings of his career he had to overcome several difficulties. The work on Brazilian radio is little recognized and financially unstable, many musicians spent years in radios’ corridors having a melancholic and miserable end of life. The vehicle that enchanted crowds at the time, made idols of several musicinas is as cruel as life; After the success that, for many, is only nominal - ostracism and the absence of legal protection lead singers, composers and actors to a situation of unthinkable penury.
While his music continued to be played, Adoniran himself was gradually forgotten by the public; so that when he died in 1982, in relative poverty, he had at his side only his wife and a brother in law. However, almost 30 years after his death he is still remembered by popular Brazilian singers like Perci Guzzo, who occasionally performs his songs in tribute.
Music
Themes
Adoniran Barbosa made good on the hardships of his youth by becoming the composer of the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, and the poor who lived in the city's many malocas (the shanties of favelas) and cortiços (degraded multifamily row houses).
The themes of his songs are drawn from the life of low-wage urban workers, the unemployed and the vagabonds. His first big hit was Saudosa Maloca ("Shanty of Fond Memories", 1951), where three homeless friends recall with nostalgia their improvised shanty, which was torn down by the landowner to make room for a building. His next success Joga a Chave ("Throw me the Doorkey", 1952) was inspired on his own frequent experiences of arriving late at home and finding the door locked by his wife, Matilde. In his Trem das Onze ("The 11 pm Train", 1964), which has been ranked one of the five best samba songs ever, the protagonist explains to his lover that he cannot stay any longer because he has to catch the last train to the Jaçanã suburb, and besides his mother will not sleep before he arrives.
Adoniran’s Language
Unlike the samba songs of the previous decades, which generally used the formal Portuguese of the educated class, Adoniran's lyrics are a realistic record of the informal speech of São Paulo's lower classes. He once said "I only write samba for the common people. That is why I write lyrics in 'wrong' Portuguese, because that is how the common people speak. Besides, I feel that samba is more beautiful when sung that way". The homeless narrator of his Saudosa Maloca, for example, tells of the day when his shanty was torn down by the landowner:
Peguemo todas nossas coisa, "We picked up all our belongings
E fumo pro meio da rua And we went out on the street
Apreciá a demolição. To watch the demolition.
Ai, que tristeza que nós sentia, Ah, what a sorrow we felt,
Cada tauba que caía Each plank as it fell
Doía no coração... Hurt us in the heart..."
The peguemo instead of pegamos, fumo instead of fomos, nós sentia instead of nós sentíamos, and tauba instead of tábua were all standard features of the speech of many paulistas. Yet, because of the strong social prejudice attached to such "bad" Portuguese, few if any authors before Adoniran had dared to put those "errors" in writing. Even lyrics ostensibly sung by poor favela dwellers, such as the classic samba Chão de Estrelas ("Starry Floor"), were paragons of correct grammar and pronunciation.
Thus Adoniran's use of "real" Brazilian Portuguese was a revolution that may be comparable to Gershwin's use of Gullah in Porgy and Bess. Indeed, he was often strongly criticized for it, even by poet and composer Vinícius de Moraes (of The Girl from Ipanema fame)[citation needed]. But Adoniran did not mind his critics, and his mastery allowed him to break with convention: as he used to say, art was required to sing in "wrong" language. And the success of his most popular songs, such as Tiro ao Álvaro (1960), was undoubtedly due in good part to the warmth and naturalness of its language.
Barbosa was known as the composer to the lower classes of São Paulo, particularly the poor Italian immigrants living in the quarters of Bexiga (Bela Vista) and Brás, as well as the poor who lived in the city's many shanties and cortiços (degraded multifamily row houses). He knew well the Italian-Portuguese pidgin spoken in the streets of São Paulo, mostly in the sections of Mooca, Brás and Bexiga. In 1965, Barbosa wrote "Samba Italiano" (Italian Samba), a song that has Brazilian rhythm and theme, but Italian lyrics with some words with Brazilian influence. See Wikipedia entry for more examples
Musical style
His favorite musical style is the samba paulista, the samba of São Paulo, generally despised by the sambistas of Rio de Janeiro. A feature of this style is the samba de breque ("brake samba"), where the music is suddenly interrupted to make space for a few spoken words, or a sudden reversal in the melodic line. For example, one of his great successes, the "Samba do Arnesto" ("Arnest's Samba", 1953) begins:
O Arnesto nus convidou prum samba, ele mora no Brás.
"Arnest invited us for a samba, he lives in Brás.”
The melodic line is suspended briefly for the phrase “ele mora no Brás”, which marks it as a parenthetical remark – not only in the lyrics, but in the music as well.
Compositions
"Malvina", 1951
"Saudosa maloca", 1951
"Joga a chave", with Osvaldo Moles 1952
"Samba do Arnesto", 1953
"Pra que chorar", with Matilde de Lutiis
"A garoa vem descendo", with Matilde de Lutiis
"As mariposas", 1955
"Iracema", 1956
"Apaga o fogo Mané", 1956
"Um Samba no Bexiga", 1957
"Bom-dia tristeza", 1958
"Abrigo de vagabundo", 1959
"No morro da Casa Verde", 1959
"Prova de carinho", 1960
"Tiro ao Álvaro", with Osvaldo Moles 1960
"Luz da light", 1964
"Trem das Onze", 1964
"Agüenta a mão", 1965
"Samba Italiano", 1965
"Tocar na banda", 1965
"Pafunça", with Osvaldo Moles 1965
"O casamento do Moacir", 1967
"Mulher, patrão e cachaça", 1968
"Vila Esperança", 1968
"Despejo na favela", 1969
"Fica mais um pouco, amor", 1975
"Acende o candieiro", 1972
"Uma Simples Margarida" ("Samba do Metrô")
"Já Fui uma Brasa"
"Rua dos Gusmões"
Adoniran also left some 90 unpublished lyrics, which are being posthumously set to music by various composers.
Compilation Albums
Raízes do samba is a series of compilation albums of notable Brazilian musicians, mostly of the bossa nova, samba and Tropicalismo genres.
Death
Adoniran Barbosa died on November 23, 1982, aged 70, during a hospital stay for treatment of pulmonary emphysema. He was survived by his companion of over forty years, Matilde de Lutiis, and his only daughter Maria Helena Rubinato (b. 1937, d. 2021) with his former wife Olga Krum (div. 1943, d. 1991).
He was buried in the Cemetery of Peace, as per Adoniran's wish.
Homages
Public Spaces
Besides the Museu Adoniran Barbosa (located at at Rua XV de Novembro, 347 in São Paulo), there are many mementos of the composer scattered through São Paulo. Places named after Adoniran induce: a school in Itaquera, a street in the borough of Bexiga, a bar named Bar Adoniran Barbosa, and a square. In Don Orione Square there is a bust of the artist, and in Jaçanã neighborhood there is a street called "Rua Trem das Onze” (11 PM Train Street), after the lyrics of his biggest hit.
On 6 August 2016, Google Doodle commemorated his 105th birthday.
Sources:
- Brazilian Portuguese: https://en.m.wikipedia.org/wiki/Adoniran_Barbosa
- English: https://en.m.wikipedia.org/wiki/Adoniran_Barbosa
Saudosa Maloca
Adoniran Barbosa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Se o senhor não está lembrado
Dá licença de contar
Que aqui onde agora está
Esse edifício alto
Era uma casa velha, um palacete abandonado
Foi aqui seu moço
Que eu, Mato Grosso e o Joca
Construímos nossa maloca
Mas um dia nem quero me lembrar
Veio os homens com as ferramentas
O dono mando derrubar
Peguemo' toda' nossas coisas
E fumos pro meio da rua
Apreciar a demolição
Que tristeza que eu sentia
Cada táuba que caia
Doía no coração
Mato Grosso quis gritar
Mas em cima eu falei
Os homens está com a razão
Nós arranja outro lugar
Só se conformemos quando o Joca falou
Deus dá o frio conforme o cobertor
E hoje nós pega a paia nas grama do jardim
E pra esquecer nós cantemos assim
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dá licença de contar
Que aqui onde agora está
Esse edifício alto
Era uma casa velha, um palacete abandonado
Foi aqui seu moço
Que eu, Mato Grosso e o Joca
Mas um dia nem quero me lembrar
Veio os homens com as ferramentas
O dono mando derrubar
Peguemo' toda' nossas coisas
E fumos pro meio da rua
Apreciar a demolição
Que tristeza que eu sentia
Cada táuba que caia
Doía no coração
Mato Grosso quis gritar
Mas em cima eu falei
Os homens está com a razão
Nós arranja outro lugar
Só se conformemos quando o Joca falou
Deus dá o frio conforme o cobertor
E hoje nós pega a paia nas grama do jardim
E pra esquecer nós cantemos assim
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim, dim, donde nós passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Adoniran Barbosa's song "Saudosa Maloca" is a nostalgic ode to a demolished shack that used to serve as the home to the singer and his friends, Mato Grosso and Joca. The song begins with Adoniran asking for permission to recount the story of the old house that used to stand where a tall building now resides. He then reminisces about the shack, affectionately referring to it as their "maloca," which means "shack" or "hut" in Portuguese. He describes how he and his friends built the shack, and how they had to leave it one day when the owner of the property ordered it to be demolished. Adoniran remembers how sad he felt as he watched the house being torn down, feeling a sense of loss with every board that fell.
Despite the sadness of losing their home, Adoniran and his friends tried to find comfort in each other's company as they watched the demolition. Mato Grosso wanted to yell at the men who were tearing down their home, but Adoniran calmed him down, reminding him that the men were just doing their job. It was only when Joca reminded them that "God provides the cold weather according to the blanket" that they found some solace in the situation. The lyric "God provides the cold weather according to the blanket" is a popular Brazilian saying, meaning that everything happens for a reason and that people should be content with what they have.
In the end, the song becomes a celebration of the memories of the maloca, as Adoniran and his friends sing about the happy times they spent there. The refrain "Saudosa Maloca, maloca querida" is a sentimental expression of love and longing for the beloved shack that held so many good memories for them.
Line by Line Meaning
Se o senhor não está lembrado
If you, sir, do not recall
Da licença de contar
May I have your permission to tell
Que aqui onde agora está
That here, where now stands
Esse edifício alto
This tall building
Era uma casa velha um palacete assobradado
Once a old house, a two-story mansion
Foi aqui seu moço
Right here, sir
Que eu, Mato Grosso e o Joca
That me, Mato Grosso, and Joca
Construímos nossa maloca
Built our humble abode
Mais um dia nem quero me lembrar
Another day I'd rather not remember
Veio os homens com as ferramentas
Men came with tools
O dono mando derruba
The owner ordered destruction
Peguemo' toda' nossas coisas
We gathered all of our things
E fumos pro meio da rua
And went to the middle of the street
Apreciar a demolição
To watch the demolition
Que tristeza que eu sentia
How sad I felt
Cada táuba que caia
Every timber that fell
Doía no coração
Pained my heart
Mato Grosso quis gritar
Mato Grosso wanted to scream
Mas em cima eu falei
But I spoke above him
Os homens está 'cá razão
The men have the right
Nós arranja outro lugar
We'll find another place
Só se conformemos quando o Joca falou
We only consoled ourselves when Joca said
Deus dá o frio conforme o cobertor
God gives us what we need
E hoje nós pega a paia nas grama do jardim
And now we pick straw from the grass in the garden
E pra esquecer nós cantemos assim
And to forget, we sing this way
Saudosa maloca, maloca querida
Beloved humble abode
Que din donde nós passemos dias feliz de nossa vida
Where we spent many happy days
Saudosa maloca, maloca querida
Beloved humble abode
Que din donde nós passemos dias feliz de nossa vida
Where we spent many happy days
Saudosa maloca, maloca querida
Beloved humble abode
Que din donde nós passemos dias feliz de nossa vida
Where we spent many happy days
Saudosa maloca, maloca querida
Beloved humble abode
Lyrics © IRMAOS VITALE S.A. - INDUSTRIA E COMERCIO
Written by: Adoniran Barbosa
Lyrics Licensed & Provided by LyricFind
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@syncmeandroid
Se o senhor não tá lembrado
Dá licença de contá
Que aqui onde agora está
Esse adifício arto
Era uma casa véia
Um palacete abandonado/assobradado
Foi aqui seu moço
Que eu, Mato Grosso e o Joca
Construímos nossa maloca
Mas um dia, nem quero me lembrá
Veio os homis c'as ferramentas
O dono mandô derrubá
Peguemos tudo as nossas coisas
E fumos pro meio da rua
Apreciar a demolição
Que tristeza que eu sentia
Cada táuba que caía
Doía no coração
Mato Grosso quis gritá
Mas em cima eu falei
Os homis tá cá razão
Nós arranja outro lugar
Só se conformemos quando o Joca falou:
"Deus dá o frio conforme o cobertor"
E hoje nós pega páia nas gramas do jardim
E prá esquecê, nós cantemos assim:
"Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossa vida"
"Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossas vidas"
@ClaudiaPianista63
LETRA
SAUDOSA MALOCA
Adoniran Barbosa
Se o senhor não tá lembrado
Dá licença de contá
Que aqui onde agora está
Esse adifício arto
Era uma casa véia
Um palacete assobradado
Foi aqui seu moço
Que eu, Mato Grosso e o Joca
Construímos nossa maloca
Mas um dia, nem quero me lembrá
Veio os homis c'as ferramentas
O dono mandô derrubá
Peguemos tudo as nossas coisas
E fumos pro meio da rua
Apreciar a demolição
Que tristeza que eu sentia
Cada táuba que caía
Doía no coração
Mato Grosso quis gritá
Mas em cima eu falei
Os homis tá cá razão
Nós arranja outro lugar
Só se conformemos quando o Joca falou
Deus dá o frio conforme o cobertor
E hoje nós pega páia nas gramas do jardim
E prá esquecê, nós cantemos assim
Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossas vidas
@pedrobispo8400
If you, sir, don't remember
Let me tell you
That here where you are now
This high building
It was an old house, an abandoned palacy.
It was here, young man
That I, Mato Grosso and Joca
We builded our maloca
But one day... I don't even want to remember
The guys with the tools, the owner decided to bring it down
We went there to get our things
And we went to the street, to watch the demolition
Intense sadness i felt, every clapboard that felt down
Broke in pieces my heart
Mato grosso wanted to scream
But i said to him: "The guys are right, we can find somewhere else"
We only chilled, when Joca said:
"God gives us the cold, according to each one's blanket"
And today we are cleaning the yard,
To forget, we sing like this:
Glorius maloca,
Dear maloca
Here we passed
Happy days of our lives
@juninmatadordeporco8735
Joga as cascas pra lá
Joga as cascas pra lá
Joga as cascas pra lá, meu bem
Se o sinhô não tá lembrado
Dá licença de contar
Já que aonde agora está
Esse ardifício arto
Era uma casa velha
Um palacete assobradado
Foi aqui, seu moço, que eu, Mato Grosso e o Joca
Construímo nossa maloca
Mas, um dia, nóis nem pode se alembrá
Veio os homens com as ferramenta
O dono mandou derrubá
Peguemo todas nossas coisas
E fumos pro meio da rua
Apreciá a demolição
Que tristeza que nóis sentia
Cada táuba que caia
Doia o coração
Mato Grosso quis gritá
Mas em cima eu falei
Os home tá com a razão
Nóis arranja outro lugar
Só se conformemos
Quando o Joca falou
"Deus dá o frio conforme o cobertor"
E hoje nóis pega as palha
Na grama do jardim
E pra esquece nóis cantemo assim
Saudosa maloca, maloca querida
Dim dim donde nóis passemos dias feliz de nossa vida
Saudosa maloca, maloca querida
Dim dim donde nóis passemos dias feliz de nossa vida
Joga as cascas pra lá
Joga as cascas pra lá
Joga as cascas pra lá, meu bem
Joga as cascas pra lá
Joga as cascas pra lá
Joga as cascas pra lá, meu bem
Joga as cascas pra lá
Joga as cascas pra lá
Joga as cascas pra lá, meu bem
@syncmeandroid
Se o senhor não tá lembrado
Dá licença de contá
Que aqui onde agora está
Esse adifício arto
Era uma casa véia
Um palacete abandonado/assobradado
Foi aqui seu moço
Que eu, Mato Grosso e o Joca
Construímos nossa maloca
Mas um dia, nem quero me lembrá
Veio os homis c'as ferramentas
O dono mandô derrubá
Peguemos tudo as nossas coisas
E fumos pro meio da rua
Apreciar a demolição
Que tristeza que eu sentia
Cada táuba que caía
Doía no coração
Mato Grosso quis gritá
Mas em cima eu falei
Os homis tá cá razão
Nós arranja outro lugar
Só se conformemos quando o Joca falou:
"Deus dá o frio conforme o cobertor"
E hoje nós pega páia nas gramas do jardim
E prá esquecê, nós cantemos assim:
"Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossa vida"
"Saudosa maloca, maloca querida
Dim-dim donde nós passemos os dias feliz de nossas vidas"
@emersonalves4283
Mito
@gessikataborda6187
Essa musica conta uma pagina negra na história do Rio de Janeiro . Quando o governo queria fazer um cartão postal para o país e ordenou que as famílias que moravam nos alrredores litoraneos deixassem seus casebres , as pessoas sairam , foram morar nas encostas onde hoje se sabe, são as favelas cada vez mais aglomeradas
@GiandomenicoDeMola
Valeu demais vey! De arrepiar.
@laysericardosilvavilanova2988
Syncme Android
@laysericardosilvavilanova2988
Syncme Android
@Dani-ks7xv
Tenho 16 anos, queria ser uma cantora como eles, que orgulho do Brasil <3
@avecultura
Também penso em ser cantor... não como profissão, mas acho lindas a Música Popular Brasileira
@luucas
Sim linda tb gosto de música clássica Br, vamo ouvir junto quando????
@DeyjaVul
@@luucaskkkkkkk mó gadão