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.
Musical
Caetano Veloso Lyrics
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Tudo é mil
Tudo acaba
E nada tem fim
Tudo bem
Tudo mal
Tudo azul
Tudo discorda
Em harmonia
Universal
Tudo é assim
Musical
E no centro de tudo
Eu e Vocé
The lyrics of Caetano Veloso's song "Musical" encapsulate the idea that everything is interconnected and cyclical, moving in both harmony and discordance. The opening lines state "Everything is one/Everything is a thousand/Everything ends/And nothing has an end." This suggests that while things may come to a close, they continue to cycle and repeat endlessly. The lines "Everything okay/Everything bad/Everything blue/Nothing is like that" reinforce this idea of constant change and shifting perspectives.
The phrase "Everything disagrees in harmony" speaks to the idea that even when things seem at odds, they can still work together in their own way. This can be seen as a metaphorical representation of the complexities of life and relationships. The song title "Musical" further emphasizes the idea that life is like a composition, with various elements coming together to create a unique sound and rhythm.
The final lines of the song "And in the center of everything/There is me and you" suggest that amidst all the chaos and change, there is a constant presence and connection between two individuals. This can be seen as a hopeful message that even in the midst of the ever-changing nature of existence, there is still the potential for love, connection, and meaning.
Line by Line Meaning
Tudo é um
Everything is one and interconnected
Tudo é mil
Everything is diverse and multifaceted
Tudo acaba
Everything comes to an end
E nada tem fim
Yet, nothing truly ends completely
Tudo bem
Everything is fine
Tudo mal
Everything is wrong
Tudo azul
Everything is okay
Nada é assim
Yet, nothing is really okay or perfect
Tudo discorda
Everything disagrees and clashes
Em harmonia
Yet, everything also harmonizes and fits together
Universal
In every corner of the universe
Tudo é assim
Everything is this way, contradictory and symphonic
Musical
Like an orchestrated symphony
E no centro de tudo
And at the core of everything
Eu e Você
It's you and me
Contributed by Jayden W. Suggest a correction in the comments below.