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.
Baioque
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O meu canto, punhalada, não conhece o perdão
Quando eu rio
Quando eu rio, rio seco como é seco o sertão
Meu sorriso é uma fenda escavada no chão
Quando eu choro
É o inverno, de repente, inundando o sertão
Quando eu amo
Quando eu amo, eu devoro todo meu coração
Eu odeio, eu adoro, numa mesma oração, quando eu canto
Mamy, não quero seguir definhando sol a sol
Me leva daqui, eu quero partir requebrando rock'n roll
Nem quero saber como se dança o baião
Eu quero ligar, eu quero um lugar
Ao sol de Ipanema, cinema e televisão
In Maria Bethania's song "Baioque", the singer begins with a warning that her singing is a sharp knife that only spares her siblings. Her voice is so powerful that it feels like a punishment to those who are not close to her. Then, she describes how her laughter is dry, similar to how the land in the desert is dry, and even her smile looks like a crack on the ground. However, her crying is a flood that catches everybody off-guard, similar to an unexpected winter rain that floods the desert. She then talks about her love, where she devours her heart and mixes adoration and hate in the same sentence. She ends the verse with a plea to her mother not to let her dwindle under the sun and wants to leave the small town to the modern world of cinema and television.
The lyrics show Maria Bethania's depth of emotion and the power of her voice as an artist. The contrast between dryness and flood exemplifies how intense her emotions can be, similarly like the unpredictability of natural phenomena. Additionally, the depiction of her love as a mixed emotion highlights the complexities of human relationships. Her plea to leave the town to explore the modern world shows her yearning for adventure and change.
Line by Line Meaning
Quando eu canto, que se cuide quem não for meu irmão
When I sing, beware anyone who is not my sibling
O meu canto, punhalada, não conhece o perdão
My singing is a stab wound that does not forgive
Quando eu rio, rio seco como é seco o sertão
When I laugh, it's dry like the dry backlands
Meu sorriso é uma fenda escavada no chão
My smile is a hole dug in the ground
Quando eu choro é uma enchente surpreendendo o verão
When I cry, it's a flood surprising the summer
É o inverno, de repente, inundando o sertão
It's winter suddenly flooding the backlands
Quando eu amo, eu devoro todo meu coração
When I love, I devour my entire heart
Eu odeio, eu adoro, numa mesma oração, quando eu canto
I hate and I love in the same prayer when I sing
Mamy, não quero seguir definhando sol a sol
Mamy, I don't want to wither away day by day
Me leva daqui, eu quero partir requebrando rock'n roll
Take me away from here, I want to leave rocking to the rock'n roll
Nem quero saber como se dança o baião
I don't even want to know how to dance the baião
Eu quero ligar, eu quero um lugar ao sol de Ipanema, cinema e televisão
I want to connect, I want a place in the sun of Ipanema, cinema and television
Lyrics © O/B/O APRA AMCOS
Written by: Francisco Buarque
Lyrics Licensed & Provided by LyricFind
J. Van Pelt
Letra:
Quando eu canto, que se cuide quem não for meu irmão
O meu canto, punhalada, não conhece o perdão
Quando eu rio
Quando eu rio, rio seco como é seco o sertão
Meu sorriso é uma fenda escavada no chão
Quando eu choro
Quando eu choro é uma enchente surpreendendo o verão
É o inverno, de repente, inundando o sertão
Quando eu amo
Quando eu amo, eu devoro todo meu coração
Eu odeio, eu adoro, numa mesma oração, quando eu canto
Mamy, não quero seguir definhando sol a sol
Me leva daqui, eu quero partir requebrando rock'n roll
Nem quero saber como se dança o baião
Eu quero ligar, eu quero um lugar
Ao sol de Ipanema, cinema e televisão
Junior
Baioque é perfeita, tanto com a Bethania, com o Chico ou com Elba, a música é de uma originalidade, uma emoção que cada interprete passa a quem escuta.
J. Van Pelt
Letra:
Quando eu canto, que se cuide quem não for meu irmão
O meu canto, punhalada, não conhece o perdão
Quando eu rio
Quando eu rio, rio seco como é seco o sertão
Meu sorriso é uma fenda escavada no chão
Quando eu choro
Quando eu choro é uma enchente surpreendendo o verão
É o inverno, de repente, inundando o sertão
Quando eu amo
Quando eu amo, eu devoro todo meu coração
Eu odeio, eu adoro, numa mesma oração, quando eu canto
Mamy, não quero seguir definhando sol a sol
Me leva daqui, eu quero partir requebrando rock'n roll
Nem quero saber como se dança o baião
Eu quero ligar, eu quero um lugar
Ao sol de Ipanema, cinema e televisão
Wilson Antonio de Oliveira
QUE COISA MAIS LINDA, TAMBÉM,gosto mais com chico, mas bethania é verdadeiramente um rio de setimentos quando canta......emocionante, que banda fantástica ,falta o crédito aos músicos, detalhe:a guitarra no fuzz..wow!!!
eliane fernandes
Recentemente adquiri este CD. Amo todas as faixas. Baioque é a faixa número 2
Silvia Dorsa
Musos - lindos maravilhosos!!
Patota Panelinha
Ai tira uma onda com o Raul.
Alexandre palmeira barbosa
Essa música fala de um brasileiro arretado que é bem comum no país,sempre troca o certo pelo duvidoso,não leva nada a série,só quer gozar e se dar bem
PJ
0:50 depois desse ponto a musica perde a graça
Guilherme Souza
+Sub-Zero até aí é só baião, meu filho.
Lariveg Laricas
ai que fica "bão"