Sister of the also popular and renowned singer and composer Caetano Veloso, she began her artistic career in 1963, appearing in the play "Boca de Ouro" by Nelson Rodrigues. A song about the play was written by Caetano Veloso, who opened the show singing a samba track by Ataulfo Alves. That year she met Gilberto Gil, Gal Costa, Tom Zé, Djalma Correa, Pitti, Alcivando Luz and Fernando Lona in Salvador, with whom she performed at the commemorations inaugurating the Vila Velha de Salvador theatre in 1964 in the shows "Nós por exemplo" and "Nova bossa velha, velha bossa nova". In 1964 she also appeared in "Mora na Filosofia", her first solo show, when she met Nara Leão. As 1965 she replaced the muse of bossa nova in the show at Teatro Opinião (Rio de Janeiro), sharing the stage with Zé Kéti and João do Vale. She stood out for her stirring interpretation of the song "Carcará". In 1965 she also recorded her first record, a single containing the tracks "Carcará" and "É de manhã", the first recording of Caetano Veloso’s composition. That same year she released a double single with the songs "Carcará", "No carnaval", "Mora na filosofia" and "Só eu sei", followed by her debut album "Maria Bethânia" and the record "Maria Bethânia canta Noel Rosa". That year she also performed in the show Arena canta Bahia, directed by Augusto Boal, alongside Gal, Gil, Caetano, Pitti and Tom Zé. Also under the direction of Boal, the same group performed the show Tempo de Guerra. In 1996 she shared the stage of Teatro Opinião with Vinícius de Moraes and Gilberto Gil, presenting the show "Pois é". In 1967 she released the album "Edu & Bethânia" with Edu Lobo. She appeared in the shows "Yes, nós temos Maria Bethânia" (Bolso theatre, Rio de Janeiro) and "Comigo me desavim" (Miguel Lemos theatre, Rio de Janeiro) and "Brasileiro profissão esperança", by Paulo Pontes, directed by Bibi Ferreira, at the Casa Grande theatre (Rio de Janeiro). In 1971 she recorded the album "A tua presença", which was praised by the select critics. In 1971 the show "Rosa dos ventos" premiered at Teatro da Praia (Rio de Janeiro), directed by Fauzi Arap and she released the album of the same name. In 1972 she appeared alongside Chico Buarque and Nara Leão in the film "Quando o carnaval chegar" by Cacá Diegues. After another trip to Europe, she launched the album "Drama - anjo exterminado" also that year. In 1973 the show Drama, luz da noite premiered at Teatro da Praia, directed by Antônio Bivar and Isabel Câmara, from which arose the record "Luz da noite". The following year she commemorated ten years in the music business with the show "A cena muda", directed by Fauzi Arap, at the Casa Grande Theatre (Rio de Janeiro). The show led to a live record of the same name. In 1975 she performed a lengthy season with Chico Buarque at the Canecão (Rio de Janeiro). In 1976 she recorded the album "Pássaro proibido" which earned her first gold record. Also that year she got together with Caetano, Gil and Gal, forming the group Os Doces Bárbaros. In 1977 she released the album "Pássaro da manhã", for which she received the second gold record of her career. That year she was considered one of the bestselling singers in Brazil, which opened new doors in the record industry. In 1978 she starred in the show "Maria Bethânia e Caetano Veloso ao vivo" alongside her brother. Also that year the album "Álibi" was released, which earned her third gold disk. In 1979 she recorded the album "Mel". She released a series of records in the following decades: "Alteza" (81), "Maria" (88), "Memória da pele" (89), "Olho d’água" (92), "As canções que você fez pra mim" (93), only recording records by Roberto and Erasmo Carlos Âmbar (96), "Imitação da vida" (97) and "A força que nunca seca" (99). In 1994 she performed alongside Caetano Veloso, Gal Costa and Gilberto Gil, in the show "Doces Bárbaros na Mangueira", reference to the tribute made to them by this samba school, with the theme "Atrás da verde e rosa só não vai quem já morreu". In 2000, she recorded limited-edition album "Cânticos, preces, súplicas à Senhora dos Jardins do Céu". In 2001, she recorded the album "Maricotinha", containing the tracks "Moça do sonho" (Edu Lobo and Chico Buarque), from the musical "Cambaio, Primavera" (Carlos Lyra and Vinícius de Moraes), "Quando você não está aqui" (Herbert Vianna and Paulo Sérgio Valle), "Antes que amanheça" (Chico César and Carlos Rennó) and "Se eu morresse de saudade" (Gilberto Gil), among others, in addition to the title track, by Dorival Caymmi. She released the record a special show at the Canecão (Rio de Janeiro). The show included appearances by Caetano Veloso, Carlos Lyra, Chico Buarque, Nana e Danilo Caymmi, Adriana Calcanhoto and Gilberto Gil, among other artists. Also in 2001, in commemoration of her 35 years in the music business, she returned to the Canecão in the show "Maricotinha", which led to the double album "Maricotinha ao vivo". On December 8 that same year, she performed before 100,000 people on Copacabana beach alongside Caetano Veloso, Gilberto Gil and Gal Costa in the show "Doces Bárbaros", which concluded the project Pão Music. In 2003 the show presented in 2001 at the Canecão was released on the DVD "Maricotinha ao vivo", directed by André Horta. In 2003 she was also nominated for the Multishow Award in the categories Best Show and Best Album for "Maricotinha ao vivo". Also that year she created her own label, Quitanda, in partnership with record company Biscoito Fino, inaugurated the company by releasing the album "Brasileirinho", containing songs about religion and Brazil, with guest appearances by Nana Caymmi, Miúcha, Denise Stoklos and Ferreira Gullar, in addition to the groups Tira Poeira and Uakti, and the album "Vozes da Purificação", the first song recorded by Dona Edith do Prato. In 2004 she received the Tim Award in the categories Best Singer, Best Record and best visual MPB project, the Rival BR Award in the category Best Album, and the Academia Brasileira de Letras Award in the category Best Singer, in addition to being nominated for the Latin Grammy. That same year she produced and appeared as a singer alongside other artists on the album "Namorando a Rosa", a tribute record to violinist Rosinha de Valença, released by her Quitanda label. In 2005 she released the album Que falta você me faz, recording works by Vincius de Moraes, in partnership with Tom Jobim, Chico Buarque, Carlos Lyra, Baden Powell, Toquinho, Adoniran Barbosa and Jards Macalé. That same year she appeared at Canecão (Rio de Janeiro) in the show "Tempo Tempo Tempo Tempo - Uma homenagem a Vinícius de Moraes". In 2005 she also received the Golden Music Dolphin Award from the Rio de Janeiro State Culture Council.
Baila Comigo / Shangrilá
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Viver pelado, pintado de verde num eterno domingo
Ser um bicho preguiça e espantar turista
E tomar banho de sol
Banho de sol
Banho de sol, sol
Se Deus quiser um dia acabo voando
Desviar de estilingue, deixar que me xinguem
E tomar banho de sol, banho de sol, banho de sol, banho de sol
Baila comigo, como se baila na tribo
Baila comigo, lá no meu esconderijo
Se Deus quiser um dia eu viro semente
E quando a chuva molhar o jardim, ah, eu fico contente
E na primavera vou brotar na terra
E tomar banho de sol
Banho de sol
Banho de sol, sol
Se Deus quiser um dia eu morro bem velha
Na hora "H" quando a bomba estourar quero ver da janela
E entrar no pacote de camarote
---
De repente eu me vejo
Amarelada, bodeada, sem ninguém
Nessas horas aparece a preguiça
A vontade de sumir, de vez
Se me der na telha sou capaz
De enlouquecer
E mandar tudo pr'aquele lugar
E fugir com você pra Shangrilá
E me deixar levar
Por um beijo eterno
Por seu corpo envolvente
Mais quente que o inferno
The lyrics of "Baila Comigo / Shangrilá" by Maria Bethânia convey a desire to escape from the confines of modern society and return to a simpler, more natural way of life. The singer longs to become an indigenous person, living naked and painted in green on a never-ending Sunday, away from the pressures of tourism and city life. Similarly, the desire to fly and avoid being targeted by catapults is a metaphor for escaping the daily grind and societal pressures. The refrain "Banho de sol" (sunbath) is also an expression of longing for a relaxed, carefree life.
The longing for escape continues with the invitation to "dance with me" as one would in a tribe, in a hidden place. The desire to become a seed that sprouts in the spring and takes a sunbath is a metaphor for being reborn and starting anew in a natural way. Finally, there is the desire to die peacefully in old age, watching a nuclear bomb go off from a safe distance, and go to heaven in style.
Line by Line Meaning
Se Deus quiser, um dia eu quero ser índio
If it's God's will, one day I want to live like an indigenous person
Viver pelado, pintado de verde num eterno domingo
To be naked, covered in green, on an endless Sunday
Ser um bicho preguiça e espantar turista
To be a sloth and scare tourists
E tomar banho de sol
And to sunbathe
Banho de sol
Sunbathing
Banho de sol, sol
Sunbathing in the sun
Se Deus quiser um dia acabo voando
If it's God's will, one day I might end up flying
Tão banal, assim como um pardal, meio de contrabando
As banal as a smuggled sparrow
Desviar de estilingue, deixar que me xinguem
Avoid slingshots and let people insult me
E tomar banho de sol, banho de sol, banho de sol, banho de sol
And to sunbathe, sunbathe, sunbathe, sunbathe
Baila comigo, como se baila na tribo
Dance with me as if you're dancing in a tribe
Baila comigo, lá no meu esconderijo
Dance with me in my hiding place
Se Deus quiser um dia eu viro semente
If it's God's will, one day I'll become a seed
E quando a chuva molhar o jardim, ah, eu fico contente
And when the rain wets the garden, oh, I'll be happy
E na primavera vou brotar na terra
And in the spring, I'll sprout from the ground
E tomar banho de sol
And sunbathe
Banho de sol
Sunbathing
Banho de sol, sol
Sunbathing in the sun
Se Deus quiser um dia eu morro bem velha
If it's God's will, one day I'll die old
Na hora "H" quando a bomba estourar quero ver da janela
In the moment of truth, when the bomb explodes, I want to see it from the window
E entrar no pacote de camarote
And to join the VIP package
De repente eu me vejo
Suddenly, I find myself
Amarelada, bodeada, sem ninguém
Yellowed, stranded, alone
Nessas horas aparece a preguiça
In these times, laziness appears
A vontade de sumir, de vez
The desire to disappear, for good
Se me der na telha sou capaz
If I feel like it, I'm capable of
De enlouquecer
Going crazy
E mandar tudo pr'aquele lugar
And sending everything to that place
E fugir com você pra Shangrilá
And running away with you to Shangri-la
E me deixar levar
And letting myself be carried away
Por um beijo eterno
By an eternal kiss
Por seu corpo envolvente
By your enveloping body
Mais quente que o inferno
Hotter than hell
Contributed by London P. Suggest a correction in the comments below.
@rayanecristina4781
Que intérprete é Bethânia! Perfeição essa música na voz dela!
@alexlee5170
Grande clássico da nossa gênia Rita Lee! Saudades das duas cantando ela em Chico e Caetano.
@mauricioronald7068
Maricotinha me salvou. Um tempo que passei não muito bom em minha vida.
Esse dvd me salvou e me salva até hoje.
@pamelagomes7009
Maravilhosa... qualquer coisa na voz dela vira obra de arte, mesmo que já o seja, é o supra sumo da arte.
@ChayeneFSilva
Se Rita Lee tivesse aí pra repetir a dose de Chico & Caetano... Mesmo assim num deixa de ser uma lindeza! ❤️
@joaofm753
as palavras da rita, na voz da sagrada bethânia... que registro impecável, emotivo e esperançoso da arte. que talvez um dia eu possa viver esse sonho singelo e majestoso que a rita teve... viver livre
@pauloluna5340
PODEROSA VOZ.....GRANDE INTERPRETE....GRANDE BETHANIA!!!!!
@felipethum1
Amo demais! Linda de corpo, alma e voz!
@luanysoares4822
Músicas lindas de Rita lee é interpretação perfeita por Maria bethania!😍
@arllainereis
amo tando, energia gostosa fazer qlqr tarefa ouvindo essa, aaah que delícia de música nessa voz