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.
Valsa De Euridice
Caetano Veloso Lyrics
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E o sol a queimar, queimar
Calçada cheia de gente a passar
E a me ver passar
Rio de Janeiro
Gosto de você
Gosto de quem gosta
Bem que eu quis escrever
Um poema de amor e o amor
Estava em tudo que eu quis
Em tudo quanto eu amei
E no poema que eu fiz tinha alguém mais feliz que eu
O meu amor
Que não me quis
Vento do mar no meu rosto
E o sol a queimar, queimar
Calçada cheia de gente a passar
E a me ver passar
Rio de Janeiro
Gosto de você
Gosto de quem gosta
Desse céu, desse mar, dessa gente feliz
Bem que eu quis escrever
Um poema de amor e o amor
Estava em tudo que eu quis
Em tudo quanto eu amei
E no poema que eu fiz tinha alguém mais feliz que eu
O meu amor
Que não me quis
Vento do mar no meu rosto
E o sol a queimar, queimar
Calçada cheia de gente a passar
E a me ver passar
Rio de Janeiro
Gosto de você
Gosto de quem gosta
Desse céu, desse mar, dessa gente feliz
Bem que eu quis escrever
Um poema de amor e o amor
Estava em tudo que eu quis
Em tudo quanto eu amei
E no poema que eu fiz tinha alguém mais feliz que eu
O meu amor
Que não me quis
The lyrics to Caetano Veloso's song "Valsa de Eurídice" express a sense of nostalgia and unrequited love, conveyed through vivid imagery of the sea breeze, the sun's heat, and the bustling streets of Rio de Janeiro. The song begins with the singer describing the wind of the sea against their face and the burning sun, while observing the crowded sidewalks filled with people passing by. The singer feels seen by others as they walk through the city. The repetition of this verse throughout the song emphasizes the sense of being present in the world, surrounded by the vibrant atmosphere of Rio de Janeiro.
The chorus expresses the singer's affection for the city of Rio de Janeiro and those who appreciate its beauty. The lyrics, "Gosto de você, gosto de quem gosta / Desse céu, desse mar, dessa gente feliz" (I like you, I like those who like / this sky, this sea, these happy people), encapsulate the singer's fondness for the city and its joyful inhabitants.
The second verse reveals the singer's desire to write a love poem, where love is found in everything they desired and loved in their life. However, the poem they create depicts someone else being happier than the singer with their own love, implying the unrequited love of the singer's own affection. The repetition of the chorus and verses throughout the song underlines the singer's continued attachment to Rio de Janeiro and their inability to fully express their love.
Overall, "Valsa de Eurídice" portrays a bittersweet and melancholic reflection on love, the city, and the singer's unrequited affection.
Line by Line Meaning
Vento do mar no meu rosto
The gentle breeze from the sea touching my face
E o sol a queimar, queimar
And the scorching sun, burning
Calçada cheia de gente a passar
Sidewalk crowded with people passing by
E a me ver passar
And watching me go by
Rio de Janeiro
Rio de Janeiro
Gosto de você
I like you
Gosto de quem gosta
I like those who like
Desse céu, desse mar, dessa gente feliz
Of this sky, this sea, this happy people
Bem que eu quis escrever
I really wanted to write
Um poema de amor e o amor
A love poem and love
Estava em tudo que eu quis
Was in everything I desired
Em tudo quanto eu amei
In everything I loved
E no poema que eu fiz tinha alguém mais feliz que eu
And in the poem I wrote, there was someone happier than me
O meu amor
My love
Que não me quis
Who didn't want me
Lyrics © Peermusic Publishing
Written by: Antonio Maria Araujo de Jesus, Ismael De Araujo Silva Netto
Lyrics Licensed & Provided by LyricFind
@eliane3445
Eurides era a rainha do inferno mesmo né Platão pegou uma briga ferrenha, com Sansão, lá no coliseu e quem tratou dele que foi feriado no ombro, e Apolo quem , tratou do ferimento dele dele né