In 1999, she was elected by BBC Radio London as the Brazilian singer of the millennium. The choice originated from the British radio project The Millennium Concerts, created to celebrate the arrival of the year 2000. In addition, Soares appears on the list of the 100 greatest voices of Brazilian music prepared by Rolling Stone Brazil magazine.
Soares lived in extreme poverty throughout her childhood and teen, getting married at 12 and having her first child at 13. Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star together with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash.
Three years later, Soares toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse.
In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. With Garrincha, Soares had a very troubled marriage (and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help her in any way).
The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits like "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada."
Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza Em Dia de Graça at the Opinião theater (Rio) and participated in the Brasil Export Show (Canecão).
In the '70s, she still had success with "Salve a Mocidade" (1974), and "Malandro" (1977, this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversities and at the same time, she was being systematically turned away by recording companies.
Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso
Soares was awarded a Sharp Prize award as the Best Samba Singer of 1997. In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virgínia Rodrigues.
In 2000, her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others. In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.
Alvaro Neder, All Music Guide
ETnocOPOP
Elza Soares Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare
Não não não não
Madame não quer ir no Cariri
Madame não quer índio marimbando
Não não não não
Madame não quer ir no Cariri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Liberte eles liberte agora
Liberte todos que estão do lado de fora
Liberte eles liberte agora
Liberte todos que estão do lado de fora
Polícia, polizei, carabinieri
Police
É tudo sirene do mesmo cop
Todo mundo sabe como se tratam os pobres
Madame não quer índio marimbando
Não não não não
Madame não quer ir no Cariri
Madame não quer índio marimbando
Não não não não
Madame não quer ir no Cariri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Sussuarana sucuiú
Sussuarana sucuri
Liberte eles liberte agora
Liberte todos que estão do lado de fora
Liberte eles liberte agora
Liberte todos que estão do lado de fora
Puta fetichista purista ufanista
Todo mundo sabe como se trata o futurista
Todo mundo sabe como se trata o futurista
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Oxumare Ioquerê oxumare (Madame não quer índio marimbando)
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Oxumare Ioquerê oxumare (Madame não quer índio marimbando)
Sussuarana sucuiú
Oxumare Ioquerê oxumare
Oxumare Ioquerê oxumare
Sussuarana sucuiú (Madame não quer ir no Cariri)
Sussuarana sucuiú
Sussuarana sucuri
The lyrics of Elza Soares's song "ETnocOPOP" are a mix of rhythmic expressions and social commentary. The repetitive chant of "Oxumare Ioquerê oxumare" refers to Oxumare, a deity in Afro-Brazilian religious traditions associated with rainbow and transformation. Oxumare represents the cycle of life, change, and renewal, which can be seen as a metaphor for the struggles and hopes of marginalized communities.
The lyrics also touch upon the rejection and discrimination faced by indigenous peoples and the poor. The line "Madame não quer índio marimbando" translates to "Madam doesn't want indigenous people playacting" and "Madame não quer ir no Cariri" meaning "Madam doesn't want to go to Cariri," which indirectly critiques the elitist and exclusionary mindset of those in power. The inclusion of animal names like "Sussuarana" (a type of large wild cat) and "sucuri" (a type of snake) enhances the imagery of the struggle between the marginalized and the oppressors.
The repeated call for liberation, "Liberte eles liberte agora," urges for the freedom of those on the outside, emphasizing the need for justice and equality. The lyrics then shift to criticize the treatment of the poor by the police, symbolized by the phrase "Polícia, polizei, carabinieri, Police," suggesting that police forces worldwide share a similar treatment of the less fortunate.
The final part of the song delves into the manipulation of power and the mistreatment of futurists. The lines "Puta fetichista purista ufanista, Todo mundo sabe como se trata o futurista" criticize the hypocrisy of society labeling certain groups or individuals as deviant while perpetuating oppressive power dynamics. It challenges the prejudiced treatment of those who envision and advocate for a better future.
Overall, "ETnocOPOP" is an anthem calling for the liberation and recognition of marginalized communities, urging society to transform its discriminatory attitudes and work towards a more inclusive and just world.
Line by Line Meaning
Oxumare Ioquerê oxumare
Invoke the spirit of Oxumare, the rainbow serpent
Madame não quer índio marimbando
Madam doesn't want indigenous people playing their traditional music
Não não não não
No, no, no, no
Madame não quer ir no Cariri
Madam doesn't want to go to Cariri, a region associated with indigenous culture
Sussuarana sucuiú
Sussuarana, the name of a wild cat, has arrived
Sussuarana sucuri
Sussuarana, the name of a wild cat, is powerful
Liberte eles liberte agora
Free them, free them now
Liberte todos que estão do lado de fora
Free everyone who is on the outside, marginalized and oppressed
Polícia, polizei, carabinieri
Police, polizei, carabinieri
Police
Police
É tudo sirene do mesmo cop
It's all sirens from the same cop car
Todo mundo sabe como se tratam os pobres
Everyone knows how the poor are treated
Puta fetichista purista ufanista
Prostitute fetishist purist nationalist
Todo mundo sabe como se trata o futurista
Everyone knows how the futurist is treated
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Invoke the spirit of Oxumare, the rainbow serpent (Madam doesn't want to go to Cariri)
Oxumare Ioquerê oxumare (Madame não quer índio marimbando)
Invoke the spirit of Oxumare, the rainbow serpent (Madam doesn't want indigenous people playing their traditional music)
Sussuarana sucuiú
Sussuarana, the name of a wild cat, has arrived
Oxumare Ioquerê oxumare (Madame não quer ir no Cariri)
Invoke the spirit of Oxumare, the rainbow serpent (Madam doesn't want to go to Cariri)
Oxumare Ioquerê oxumare (Madame não quer índio marimbando)
Invoke the spirit of Oxumare, the rainbow serpent (Madam doesn't want indigenous people playing their traditional music)
Sussuarana sucuiú
Sussuarana, the name of a wild cat, has arrived
Lyrics © Sony/ATV Music Publishing LLC
Written by: Antonio Carlos Santos De Freitas
Lyrics Licensed & Provided by LyricFind