Tropicalia
Caetano Veloso & Chico Buarque Lyrics
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Sob os meus pés os caminhões
Aponta contra os chapadões
Meu nariz
Eu organizo o movimento
Eu oriento o carnaval
Eu inauguro o monumento no planalto central
Viva a bossa-sa-sa
Viva a palhoça-ça-ça-ça-ça
Viva a bossa-sa-sa
Viva a palhoça-ça-ça-ça-ça
O monumento é de papel crepom e prata
Os olhos verdes da mulata
A cabeleira esconde atrás da verde mata
O luar do sertão
O monumento não tem porta
A entrada de uma rua antiga, estreita e torta
E no joelho uma criança sorridente, feia e morta
Estende a mão
Viva a mata-ta-ta
Viva a mulata-ta-ta-ta-ta
Viva a mata-ta-ta
Viva a mulata-ta-ta-ta-ta
No pátio interno há uma piscina
Com água azul de Amaralina
Coqueiro, brisa e fala nordestina e faróis
Na mão direita tem uma roseira
Autenticando eterna primavera
E nos jardins os urubus passeiam a tarde inteira
Entre os girassóis
Viva Maria-ia-ia
Viva a Bahia-ia-ia-ia-ia
Viva Maria-ia-ia
Viva a Bahia-ia-ia-ia-ia
No pulso esquerdo bang-bang
Em suas veias corre muito pouco sangue
Mas seu coração balança a um samba de tamborim
Emite acordes dissonantes
Pelos cinco mil alto-falantes
Senhora e senhores ele põe os olhos grandes
Sobre mim
Viva Iracema-ma-ma
Viva Ipanema-ma-ma-ma-ma
Viva Iracema-ma-ma
Viva Ipanema-ma-ma-ma-ma
Domingo é o Fino da Bossa
Segunda-feira está na fossa
Terça-feira vai à roça
Porém
O monumento é bem moderno
Não disse nada do modelo do meu terno
Que tudo mais vá pro inferno, meu bem
Viva a banda-da-da
Carmem Miranda-da-da-da-da
Viva a banda-da-da
Carmem Miranda-da-da-da-da
The song "Tropicalia" by Caetano Veloso and Chico Buarque reflects the cultural movement known as “Tropicalismo” that emerged in Brazil in the 1960s. The lyrics depict contrasting images of modernity and tradition, urban and rural living, while incorporating elements of bossa nova, samba, and western rock. The opening lines, "Sobre a cabeça os aviões, sob os meus pés os caminhões” ("Overhead the airplanes, under my feet the trucks"), refer to the technological advances of modern Brazil contrasted with the traditional countryside.
The lyrics continue to describe the singer’s role as an organizer of movements, directing Carnival celebration, and inaugurating a monument at the central plateau of the country. While the monument is made of paper crepe and silver, the image of the mulata with green eyes and hair hidden behind a green forest, points to Brazil’s diversity and natural beauty. The monument has no door, and a smiling child extends their hand, perhaps referencing the cycle of poverty in Brazil.
The last part of the song references various cultural icons, including the blue waters of Amaralina, rose garden, and buzzing of bees. The singer wears a bang-bang on their wrist and their heart sways to the beat of the samba. The song ends with a reference to "Fino da Bossa," a popular Brazilian music television show featuring many tropicalia musicians. Overall, the song showcases the contrast between tradition and modernity, nature and urbanity, and reflects the mixture of styles that characterized the Tropicalismo movement.
Line by Line Meaning
Sobre a cabeça os aviões
I see airplanes flying above my head
Sob os meus pés os caminhões
I see trucks driving under my feet
Aponta contra os chapadões
I notice the huge wonders of nature in front of me
Meu nariz
My nose is what perceives all of this beauty
Eu organizo o movimento
I am in charge of organizing this movement
Eu oriento o carnaval
I am the one directing the carnival
Eu inauguro o monumento no planalto central
I am creating a monument at the center of the country
Do país
It will represent the whole nation
Viva a bossa-sa-sa
Long live the bossa-sa-sa music genre
Viva a palhoça-ça-ça-ça-ça
Long live the humble peasant houses with their fun parties
O monumento é de papel crepom e prata
The monument is made of crepe paper and silver
Os olhos verdes da mulata
The mulata's green eyes catch my attention
A cabeleira esconde atrás da verde mata
Her hair hides behind the green forest
O luar do sertão
The moonlight of the countryside is shining
O monumento não tem porta
The monument does not have a door
A entrada de uma rua antiga, estreita e torta
The entrance is through an old, narrow and curved street
E no joelho uma criança sorridente, feia e morta
At the knee, there is a smiling but ugly and dead child
Estende a mão
The child extends his/her hand
Viva a mata-ta-ta
Long live the lush forests
Viva a mulata-ta-ta-ta-ta
Long live the beautiful women with mixed ethnicity
No pátio interno há uma piscina
There is a pool in the internal patio
Com água azul de Amaralina
The water is blue, like the beach in Amaralina
Coqueiro, brisa e fala nordestina e faróis
The scene is completed by palm trees, a gentle breeze, and the Northeastern accent and lighthouses
Na mão direita tem uma roseira
On my right hand, there's a rose bush
Autenticando eterna primavera
It represents an eternal spring
E nos jardins os urubus passeiam a tarde inteira
The vultures walk around the gardens all afternoon
Entre os girassóis
Among the sunflowers
Viva Maria-ia-ia
Long live Maria, a common female name in Brazil
Viva a Bahia-ia-ia-ia-ia
Long live Bahia, a Brazilian state known for its culture and traditions
No pulso esquerdo bang-bang
On my left wrist, there is a cowboy revolver
Em suas veias corre muito pouco sangue
He doesn't have a lot of blood running through his veins
Mas seu coração balança a um samba de tamborim
But his heart beats to the rhythm of a samba with tamborim
Emite acordes dissonantes
He plays dissonant chords
Pelos cinco mil alto-falantes
Through five thousand loudspeakers
Senhora e senhores ele põe os olhos grandes
Ladies and gentlemen, he looks at me with big eyes
Sobre mim
Referring to me as the subject
Viva Iracema-ma-ma
Long live Iracema, a famous Brazilian novel of the Romantic period
Viva Ipanema-ma-ma-ma-ma
Long live Ipanema, a famous beach in Rio de Janeiro
Domingo é o Fino da Bossa
Sunday is the day of the finest Bossa Nova music
Segunda-feira está na fossa
On Mondays, we feel down
Terça-feira vai à roça
On Tuesdays, we go to the farm
Porém
However
O monumento é bem moderno
The monument is very modern
Não disse nada do modelo do meu terno
It doesn't say anything about the style of my suit
Que tudo mais vá pro inferno, meu bem
I don't care about anything else, my dear
Viva a banda-da-da
Long live the musical band
Carmem Miranda-da-da-da-da
Referring to the famous Brazilian singer and actress, Carmen Miranda
Viva a banda-da-da
Long live the musical band
Carmem Miranda-da-da-da-da
Referring to Carmen Miranda, again
Lyrics © Warner/Chappell Music, Inc.
Written by: CAETANO EMMANUEL VIANA TELES VELOSO
Lyrics Licensed & Provided by LyricFind