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.
Upa Neguinho
Elis Regina Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Upa pra lá e pra cá
Vigi que coisa mais linda
Upa neguinho começando a andar
Upa neguinho na estrada
Upa pra lá e pra cá
Vigi que coisa mais linda
Upa neguinho começando a andar
E já começa a apanhar
Cresce neguinho me abraça
Cresce me ensina a cantar
Eu vim de tanta desgraça mas muito eu te posso ensinar
Capoeira, posso ensinar
Ziquizira, posso tirar
Valentia, posso emprestar
Liberdade só posso esperar
The lyrics of Elis Regina's song "Upa Neguinho" reflect the joyous celebration of a child's first steps. "Upa" is an onomatopoeia of a playful lifting gesture used to encourage the child to walk. The repetition of the phrase "upa pra lá e pra cá" evokes the rhythmic movement of the child's steps as he learns to walk. The beauty of the child's innocence and the hope and promise of his future are captured in the phrase "vigi que coisa mais linda" (look how beautiful). However, the song also acknowledges the hardships faced by the black community, as reflected in the lyrics "Eu vim de tanta desgraça" (I come from so much misery).
The second stanza of the song speaks to the importance of community in supporting and nurturing each other. It highlights the potential of the child to become a teacher and leader who can pass on the rich cultural heritage of capoeira and overcome the injustices of racism and oppression ("ziquizira", meaning malice, can be overcome). Despite the struggles faced, the song ends on a note of hope, with the singer acknowledging that while freedom may not yet be attainable, it is something to be hoped for and worked towards.
Line by Line Meaning
Upa neguinho na estrada
Pick up the little one on the road
Upa pra lá e pra cá
Lift him up and down
Vigi que coisa mais linda
Look at how beautiful it is
Upa neguinho começando a andar
Lift the little one as he starts to walk
Começando a andar, começando a andar
Starting to walk, starting to walk
E já começa a apanhar
And he's already falling down
Cresce neguinho me abraça
Grow up, little one, hug me
Cresce me ensina a cantar
Grow up and teach me to sing
Eu vim de tanta desgraça mas muito eu te posso ensinar
I came from so much misery, but I have a lot to teach you
Capoeira, posso ensinar
Capoeira, I can teach
Ziquizira, posso tirar
Troubles, I can get rid of
Valentia, posso emprestar
Bravery, I can lend
Liberdade só posso esperar
Freedom, I can only hope for
Contributed by Xavier I. Suggest a correction in the comments below.
Bruna Karine
Patapatri
Tri tri tri tri
Tri Badabá!
Upa, neguinho na estrada
Upa, pra lá e pra cá
Virge!
Que coisa mais linda!
Upa neguinho
Começando a andar
Começando a andar
Upa, neguinho na estrada
Upa, pra lá e pra cá
Virge!
Que coisa mais linda!
Upa neguinho
Começando a andar
Começando a andar
Começando a andar
E já começa apanhar
Cresce, neguinho
E me abraça
Cresce e me ensina a cantar
Euuuuuuuu
Vim de tanta desgraça
Mas muito te posso ensinar
Mas muito te posso ensinar
Capoeira!
Posso ensinar
Ziquizira!
Posso tirar
Valentia!
Posso emprestar
Mas liberdade
Só posso esperar
Patapatri
Tri tri tri tri
Tri Badabá
Dorival Tadeu Nicolucci
Uma brilhante canção e uma interpretação fantástica.❤❤❤
Wellingta Macêdo
Essa música é tão dolorosa, remete aos tempos de Escravidão, aos tempos de açoites e chibatas que não poupavam nem as crianças. Porém, a graciosidade em que Elis a interpreta torna a canção um belo e triste retrato de um tempo que nunca deveria ter existido. Choro sempre que a escuto, mas canto junto porque é clássico, é Elis!
Wanderley Lemes
👏👏👏
…meh…
O jeito que ela canta é tão fofo e Simpatizante!
Manuel Angulo
Una de las tesituras más exquisitas e imponentes de todos los tiempos... !Amo a Ellis, amo la música brasileña, desde México saludos Brasil...
Tv oieee!
Muchas graçias🙋
Jolgeable
Saludos, México! <3
Kraftbeat
Manuelinho Do Nascimento
Wanderley Lemes
Li hoje (9/3/23) em algum lugar a expressão "zica" que eu sabia que era redução de "ziquizira", lembrei imediatamente da Elis, cantando essa pérola de Edu Lobo e Guarnieri. Bom demais. Música brasileira, joia rara!
daliborka caratla
Her interpretation of this song is simply magic...pure magic, this is the world's music treasure!!!!!!!! She is truly something else, very special lady! I am hypnotized by her interpretations! FABULOUS!!!!!!!!!!!