In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. She was the first major artist to emerge from music festivals in the 1960s and detached herself from the Bossa Nova aesthetic through the use of her vocal range and drama. Initially, her style was influenced by radio singers, especially Ângela Maria. After four unsuccessful studio albums — Viva a Brotolândia (1961), Poema de Amor (1962), Elis Regina (1963), O Bem do Amor (1963) — Elis was the biggest revelation of the TV Excelsior festival in 1965, when he sang "Arrastão" by Vinícius de Moraes and Edu Lobo. This feat would guarantee him the invitation to act on television and, shortly afterwards, the title of first star of Brazilian popular song, when he started to command, alongside Jair Rodrigues, one of the two most important Brazilian popular music programs, O Fino da bossa. In 1967, she married Ronaldo Bôscoli, then director of O Fino da Bossa. From 1972, Elis began a relationship with César Camargo Mariano, which would last until 1981, in one of the most successful partnerships in Brazilian Popular Music.
She sang many genres: MPB, bossa nova, samba, rock and jazz. Interpreting songs like "Madalena", "Águas de Março", "Atrás da Porta", "Como Nosso Pais", "O Bêbado e a Equilibrista" and "Querellas do Brasil", he recorded moments of happiness, love, sadness and patriotism. Throughout his career, he stood out for also singing songs by artists, still little known, such as Milton Nascimento, Ivan Lins, Belchior, Renato Teixeira, Aldir Blanc, João Bosco, helping to launch them and publicize their works. , boosting them in the Brazilian music scene. Among other partnerships, the duets she had with Jair Rodrigues, Tom Jobim and Rita Lee are famous. With her second husband, pianist César Camargo Mariano, she consecrated a long work of great creativity and musical consistency and, in technical terms, was considered the best brazilian singer. His most memorable artistic presence is perhaps registered on the albums Em Pleno Verão (1970), Elis (1972), Elis (1973), Elis & Tom (1974), Elis (1974), Falso Brilhante (1976), Transversal do Tempo (1978). ), Essa Mulher (1979), Saudade do Brasil (1980) and Elis (1980). She was the first person to inscribe her own voice as if it were an instrument, in the Order of Musicians of Brazil. In 2013, she was elected the best female voice in Brazilian music by Rolling Stone Magazine. Elis was also mentioned in the list of the greatest artists in Brazilian music, ranking 14th, being the best-placed woman. In November of the same year, a musical was premiered in honor of her Elis, the musical.
Elis Regina died prematurely at the age of 36, at the height of her career, causing strong commotion in the country and leaving a vast body of work in Brazilian popular music. Although there were controversies and disputes as to the cause of death, the tests showed that the cause was the consumption of cocaine associated with alcohol, which caused a cardiac arrest.
Ponta De Areia
Elis Regina Lyrics
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Da Bahia à Minas, estrada natural
Que ligava Minas ao porto, ao mar
Caminho do ferro mandaram arrancar
Velho maquinista com seu boné
Lembra o povo alegre que vinha cortejar
Maria Fumaça, não canta mais
Para moças, flores, janelas e quintais
Na praça vazia, um grito um ai
Casas esquecidas, viúvas nos portais
The lyrics of Elis Regina's song "Ponta de Areia" describe the sadness and nostalgia of a now abandoned railroad that once connected the states of Bahia and Minas Gerais in Brazil. This train line was a natural road connecting Minas Gerais to the sea port, but the authorities decided to shut it down and removed the railroad tracks, making it impossible for the old steam engines to continue their journeys. In the song, the old steam engine or "Maria Fumaça", which used to sing for young girls, flowers, and windows, is silenced and long forgotten. The empty square, deserted houses, and widows leaning on their doorways, all bear witness to the passage of time and the loss of a connection that once united people and places in Brazil.
The lyrics of "Ponta de Areia" reflect the intersection of modernity and tradition in Brazil. The railroad represented progress and development at the time of its construction, but it also enabled the movement of people and cultures, allowing them to come into contact and exchange ideas. The shutting down of the railroad symbolizes the end of an era, the loss of a vital connection, and the start of a new phase in history. The song's lyrics capture a sense of longing and melancholy, a longing for a time when things were simpler, and people's values were different.
Line by Line Meaning
Ponta de areia, ponto final
The end of the road at a sandy point
Da Bahia à Minas, estrada natural
The natural road from Bahia to Minas
Que ligava Minas ao porto, ao mar
Connecting Minas to the port and sea
Caminho do ferro mandaram arrancar
They took out the railroad tracks
Velho maquinista com seu boné
An old train driver with his cap
Lembra o povo alegre que vinha cortejar
Remembers the happy people who used to court
Maria Fumaça, não canta mais
The steam engine no longer sings
Para moças, flores, janelas e quintais
For young women, flowers, windows, and backyards
Na praça vazia, um grito um ai
In the empty square, a cry, an oh my
Casas esquecidas, viúvas nos portais
Forgotten houses, widows at the doorways
Lyrics © Sony/ATV Music Publishing LLC, Tratore
Written by: Fernando Brant, Milton Silva Campos Nascimento
Lyrics Licensed & Provided by LyricFind
Fernando Graça
É interessante como Elis, após o disco bossanovístico com Tom, lança esse disco, com um estilo totalmente diferente, com a voz mais solta, projetada e para fora.
Erika Vitoria
Ela era belting.
Ethel Lima
Minas, Milton,Elis,Brant...Saudade, de um Brasil..que se perdeu nos caminhos da ignorância,da mediocridade,do ódio,.......
Gustavo Teixeira
Ethel Lima, Parabéns pelo comentário! Infelizmente, a trilha sonora da nossa antes gloriosa MPB agora se faz preponderar da mediocridade, da pobreza e da mesmice do estilo sertanejo, no qual um ridículo Gusttavo Lima vale mais do que um genial Milton Nascimento.
André luis
"...Mandaram arrancar..."
PH Loo
Que comentário inteligente e doloroso ! 😪😪😪👏👏👏
Aleir Oliveira
Maria Lima concordo, infelizmente não só o Brasil,sim muito mais,mas o mundo todo se perdeu nessa marcha da evolução,e nós não podemos detê-la .
Aleir Oliveira
Eu sinto uma coisa boa ouvindo essa música,e ao mesmo tempo um aperto no peito, pensar que a vida é tão breve e não vou conhecer tantas coisas... saudades de lugares que nunca pisei,da época"romântica" que jamais voltará, pois o tempo não para e não volta, tenho sensação que eu não pertenço a esse mundo e não faço parte deste tempo,me sinto perdido...
João Merino
Kralio! Resumiu tudo que penso e sinto, me sinto exatamente como você.
(me descupe pelo palavrão....)
Caio César
Saudades de um tempo em que eu não vivi e de lugares que nunca estive...