He began his career as a bossa nova musician, but soon began writing songs that reflected a new focus on political awareness and social activism, along with fellow singer Caetano Veloso. In the 1970s, Gil added new elements of African and North American music to his already broad palette, and continued to release a steady stream of albums, including Realce and Refazenda. João Gilberto recorded Gil's "Eu Vim da Bahia" ("I Came from Bahia") on his classic João Gilberto LP.
In 1969, Gil and Veloso, whose status in Brazil was, and is, equivalent to that of John Lennon and Paul McCartney in the English-speaking world, were arrested by the military government of Brazil for anti-government activities. Upon their release, the pair both moved to London. Gil began playing with groups like Yes, Pink Floyd and The Incredible String Band, while continuing his solo career. In the 1970s, he toured the US and recorded an English-language album. He worked with Jimmy Cliff and released in 1980 a cover of "No Woman, No Cry" (Bob Marley & the Wailers) that was a massive hit and introduced reggae to Brazil.
Gil continued recording, performing and involving himself in various social causes, and was eventually elected a city councillor in his home town Salvador in 1989. His 1993 album with Caetano Veloso, Tropicália 2, featured a cover of a Jimi Hendrix song, "Wait Until Tomorrow", and is regarded as one of his finest efforts since the late 1960s.
When President Lula da Silva took office in January 2003, he chose Gil to serve as Brazil's new Minister of Culture, a post he held until 2008. While minister, Gil released his songs "Refazenda", "Rebento" and "Refavela" under the Creative Commons Sampling License.
In May 2005 Gil was awarded the Polar Music Prize in Stockholm, Sweden. He was the first Latin American recipient of the annual award, which was given to him by the King of Sweden. Gil also performed four songs in an outdoors concert the day before the award show and again at the show with only two songs, accompanied by Jimmy Cliff.
In September 2005 he was awarded the Légion d'honneur from the French Government. This coincided with the Année du Brésil en France (Brazil's Year in France).
His daughter Preta Gil is also a musician.
Nossa
Gilberto Gil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vou me juntar ao Olodum que é da alegria
É denominado de vulcão
O estampido ecoou nos quatro cantos do mundo
Em menos de um minuto, em segundos
Nossa gente é quem bendiz, é quem mais dança
O gringos se afinavam na folia
Os rataplans dos tambores gratificam
Quem fica não pensa em voltar
Afeição à primeira vista
O beijo, o batom que não vai mais soltar
A expressão do rosto identifica
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá que eu vou
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá (avisa lá), avisa lá
(Au-uo-uo, uo-uo-uo, auo-uo-uo-uo)
Avisa lá que eu vou chegar mais tarde, oh yeah
Vou me juntar ao Olodum que é da alegria
É denominado de vulcão
O estampido ecoou nos quatro cantos do mundo
Em menos de um minuto, em segundos
Nossa gente é quem bendiz, é quem mais dança
O gringos se afinavam na folia
Os deuses igualando todo encanto, toda dança
Os rataplans dos tambores gratificam
Quem fica não pensa em voltar
Afeição à primeira vista
O beijo, o batom que não vai mais soltar
A expressão do rosto identifica
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá que eu vou
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá que eu vou
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá que eu vou
Avisa lá, avisa lá, avisa lá, ô ô
Avisa lá que eu vou
The lyrics to Gilberto Gil & Caetano Veloso's song Nossa gente paint a vivid picture of the joy and celebratory atmosphere of the São João festival in Brazil. The first verse describes the dazzling lights of the festival and the various songs and dances that accompany it - the babados, xotes, and xaxados. The repetition of "segura as pontas meu coração," which roughly translates to "hold on to your heart," suggests the excitement and intensity of the festival, urging listeners to brace themselves for the experience.
The second verse takes a more metaphorical approach, likening the festival to a magical war where no one gets hurt. The "trincheiras da alegria," or trenches of happiness, suggest a sense of community and solidarity in the midst of celebration. Rather than conflict, what explodes in these trenches is love, highlighting the deeply emotional and transformative nature of the São João festival.
The final lines of the song circle back to the central image of the song - the fogueira, or bonfire, that represents the eternal night and first celebration of the Festa do Interior. The use of the word "ardia," or "burned," emphasizes the heat and intensity of the festival experience, which lasts a lifetime for those who participate.
Overall, the lyrics of "Nossa gente" celebrate the intense emotional and communal experience of the São João festival in Brazil, using vivid imagery and metaphorical language to convey the transformative power of celebration.
Line by Line Meaning
Fagulhas, pontas de agulhas
Tiny sparks, needle points
Brilham estrelas de São João
São João's stars shine brightly
Babados, xotes e xaxados
Frills, xotes and xaxados
Segura as pontas meu coração
Hold onto your heart
Bombas na guerra-magia
Bombs in magical warfare
Ninguém matava, ninguém morria
No one killed, no one died
Nas trincheiras da alegria
In the trenches of joy
O que explodia era o amor
What exploded was love
E ardia aquela fogueira
And that fire burned
Que me esquenta a vida inteira
That warms my whole life
Eterna noite sempre a primeira
Eternal night always the first
Festa do Interior
Countryside festival
Lyrics © Peermusic Publishing
Written by: Roque Carvalho dos Santos
Lyrics Licensed & Provided by LyricFind