Veloso is the fifth of the seven children born to José Telles Veloso ("Seu Zezinho") and Claudionor Vianna Telles Veloso ("Dona Canô"). His younger sister Maria Bethânia, another popular and renowned artist in Brazil, preceded him to fame as a singer in the mid-1960s. He began his career around 1965 singing bossa nova and he has cited his greatest musical influences from his early period as João Gilberto and Dorival Caymmi. (João Gilberto would say later about Caetano's contribution that it added an intellectual dimension to brazilian popular music.) But with such musical collaborators Gilberto Gil, Gal Costa, Tom Zé, Chico Buarque, and Os Mutantes, and greatly influenced by the later work of The Beatles, developed tropicalismo, which fused Brazilian pop with rock and roll and avant garde art music resulting in a more international, psychedelic, and socially aware sound. Veloso's politically active stance, unapologetically leftist, earned him the enmity of Brazil's military dictatorship which ruled until 1985; his songs were frequently censored, and some were banned. Veloso was also alienated from the socialist left in Brazil becasue of his acceptance and integration of non-nationalist influences (like rock and roll) in his music. Veloso and Gilberto Gil spent several months in jail for "anti-government activity" in 1968 and eventually exiled themselves to London. Caetano Veloso's work upon his return in 1972 was often characterized by frequent appropriations not only of international styles, but of half-forgotten Brazilian folkloric styles and rhythms as well. In particular, his celebration of the Afro-Brazilian culture of Bahia can be seen as the precursor of such Afro-centric groups as Timbalada.
In the 1980s, Veloso's popularity outside Brazil grew, especially in Israel, Portugal, France and Africa. By 2004, he was one of the most respected and prolific international pop stars, with more than fifty recordings available, including songs in soundtracks of movies such as Pedro Almodovar's Hable con Ella (Talk to Her), and Frida. In 2002 Veloso published an account of his early years and the Tropicalia movement, Tropical Truth: A Story of Music and Revolution in Brazil.
His first all-English CD was A Foreign Sound (2004), which covers Nirvana's "Come as You Are" and compositions from the Great American Songbook. Five of the six songs on his third eponymous album, released in 1971, were also in English.
Enquanto Seu Lobo Não Vem
Caetano Veloso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vamos passear na avenida
Vamos passear nas veredas, no alto meu amor
Há uma cordilheira sob o asfalto
(Os clarins da banda militar…)
A Estação Primeira da Mangueira passa em ruas largas
(Os clarins da banda militar…)
(Os clarins da banda militar…)
Presidente Vargas, Presidente Vargas, Presidente Vargas
(Os clarins da banda militar…)
Vamos passear nos Estados Unidos do Brasil
Vamos passear escondidos
Vamos desfilar pela rua onde Mangueira passou
Vamos por debaixo das ruas
(Os clarins da banda militar…)
Debaixo das bombas, das bandeiras
(Os clarins da banda militar…)
Debaixo das botas
(Os clarins da banda militar…)
Debaixo das rosas, dos jardins
(Os clarins da banda militar…)
Debaixo da lama
(Os clarins da banda militar…)
Debaixo da cama
The song Enquanto Seu Lobo Não Vem by Caetano Veloso contains lyrics that are quite metaphorical and symbolic. The first verse talks about a forest and a hidden path. The second verse talks about taking a stroll and sightseeing on top of the mountains. These lyrics are a metaphor for appreciating the beauty of natural landscapes that exist amidst modern, urbanized neighborhoods. The mention of "uma cordilheira sob o asfalto" meaning "a mountain range under the asphalt" suggests that amidst the city's infrastructure, there is still the unexplored beauty of nature.
The following verses mention the Estação Primeira da Mangueira, which is a reference to a famous samba school in Rio de Janeiro. The lyrics describe the samba school passing through streets, under avenues, and even under bombs and flags. The samba school, in this context, becomes a symbol of resistance amidst political turmoil and oppression.
The final verses mention the United States of Brazil, which was the official name for Brazil from 1889 to 1968. The lyrics talk about walking discreetly and even hiding, possibly suggesting a fear of persecution. The mention of "debaixo da lama" meaning "under the mud" and "debaixo da cama" meaning "under the bed" represent the lengths one must go to survive in the face of oppression.
Overall, the song appears to be a call for appreciation of nature and a celebration of your roots and culture, even amidst political turmoil and oppression.
Line by Line Meaning
Vamos passear na floresta escondida, meu amor
Let's take a walk through the hidden forest, my love.
Vamos passear na avenida
Let's take a walk on the avenue.
Vamos passear nas veredas, no alto meu amor
Let's take a walk on the pathways up high, my love.
Há uma cordilheira sob o asfalto
There is a mountain range beneath the asphalt.
(Os clarins da banda militar…)
(The horns of the military band...)
A Estação Primeira da Mangueira passa em ruas largas
The First Station of Mangueira passes through wide streets.
(Os clarins da banda militar…)
(The horns of the military band...)
Passa por debaixo da Avenida Presidente Vargas
Passes underneath Presidente Vargas avenue.
(Os clarins da banda militar…)
(The horns of the military band...)
Presidente Vargas, Presidente Vargas, Presidente Vargas
Presidente Vargas, Presidente Vargas, Presidente Vargas.
(Os clarins da banda militar…)
(The horns of the military band...)
Vamos passear nos Estados Unidos do Brasil
Let's take a walk in the United States of Brazil.
Vamos passear escondidos
Let's take a walk hidden.
Vamos desfilar pela rua onde Mangueira passou
Let's parade down the street where Mangueira passed.
Vamos por debaixo das ruas
Let's go under the streets.
(Os clarins da banda militar…)
(The horns of the military band...)
Debaixo das bombas, das bandeiras
Underneath the bombs, the flags.
(Os clarins da banda militar…)
(The horns of the military band...)
Debaixo das botas
Underneath the boots.
(Os clarins da banda militar…)
(The horns of the military band...)
Debaixo das rosas, dos jardins
Underneath the roses, the gardens.
(Os clarins da banda militar…)
(The horns of the military band...)
Debaixo da lama
Underneath the mud.
(Os clarins da banda militar…)
(The horns of the military band...)
Debaixo da cama
Underneath the bed.
Contributed by Leah H. Suggest a correction in the comments below.