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.
Carcará
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pega, mata e come
Carcará
Num vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Lá no sertão
É um bicho que avoa que nem avião
É um pássaro malvado
Tem o bico volteado que nem gavião
Carcará
Quando vê roça queimada
Sai voando, cantando
Carcará
Vai fazer sua caçada
Carcará
Come ′inté cobra queimada
Quando chega o tempo da invernada
No sertão não tem mais roça queimada
Carcará mesmo assim num passa fome
Os burrego que nasce na baixada
Carcará
Pega, mata e come
Carcará
Num vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Carcará é malvado, é valentão
É a águia de lá do meu sertão
Os burrego novinho num pode andá
Ele puxa no bico 'inté matá
Carcará
Pega, mata e come
Carcará
Num vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Carcará
Em 1950 mais de dois milhões de nordestinos
Viviam fora dos seus estados natais
10% da população do Ceará emigrou
13% do Piauí, 15% da Bahia, 17% de Alagoas
Carcará
Pega, mata e come
Carcará
Num vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
The lyrics to the song "Carcará" by Maria Bethânia describe the character of an animal known as "Carcará" (a type of bird of prey) that is common in the Northeastern region of Brazil. The song paints a picture of this bird as a ruthless and fearless predator that will hunt and eat anything it can find, including snakes and other animals that are still burning in the aftermath of a forest fire. The bird is also described as having more courage than a human being, expressing admiration for its relentless predatory nature.
The song reflects on the hard realities of life in the sertão (a rugged and arid region of Brazil's interior), where the Carcará is a powerful symbol of survival in a harsh and unforgiving environment. The bird's ability to thrive in such a hostile environment is seen as a model for human resilience and determination in the face of adversity.
Overall, the lyrics to "Carcará" are a tribute to the tenacity and resourcefulness of the people of Brazil's northeastern region, who have struggled for centuries to make a living in a land that is often harsh and unforgiving. The song recognizes the role that the Carcará plays in the region's ecology and culture, and celebrates its savage beauty.
Line by Line Meaning
Carcará
The Carcará bird is being mentioned
Pega, mata e come
Carcará bird catches, kills and eats its prey
Carcará
The Carcará bird is being mentioned
Num vai morrer de fome
The Carcará bird won't go hungry
Carcará
The Carcará bird is being mentioned
Mais coragem do que homem
The Carcará bird is braver than a man
Carcará
The Carcará bird is being mentioned
Lá no sertão
In the backlands
É um bicho que avoa que nem avião
The Carcará bird flies like an airplane
É um pássaro malvado
The Carcará bird is a cruel bird
Tem o bico volteado que nem gavião
Its beak is turned down like that of a hawk
Carcará
The Carcará bird is being mentioned
Quando vê roça queimada
When it sees a burned-down crop
Sai voando, cantando
It flies away singing
Carcará
The Carcará bird is being mentioned
Vai fazer sua caçada
It goes to hunt
Carcará
The Carcará bird is being mentioned
Come ′inté cobra queimada
It even eats burnt snakes
Quando chega o tempo da invernada
When the rainy season comes
No sertão não tem mais roça queimada
There are no more burned-down crops in the backlands
Carcará mesmo assim num passa fome
The Carcará bird still won't go hungry
Os burrego que nasce na baixada
The lambs born in the lowlands
Carcará
The Carcará bird is being mentioned
Pega, mata e come
Carcará bird catches, kills and eats its prey
Carcará
The Carcará bird is being mentioned
Num vai morrer de fome
The Carcará bird won't go hungry
Carcará
The Carcará bird is being mentioned
Mais coragem do que homem
The Carcará bird is braver than a man
Carcará
The Carcará bird is being mentioned
Em 1950 mais de dois milhões de nordestinos
In 1950 over two million Northeasterners
Viviam fora dos seus estados natais
Lived outside of their home states
10% da população do Ceará emigrou
10% of the population from Ceará migrated
13% do Piauí, 15% da Bahia, 17% de Alagoas
13% from Piauí, 15% from Bahia, 17% from Alagoas
Writer(s): Jose Candido Da Silva, Joao Batista Vale
Contributed by Amelia I. Suggest a correction in the comments below.
Cezar Prado
LETRA:
Carcará
Lá no Sertão
É um bicho que avoa que nem avião
É um pássaro malvado
Tem o bico volteado que nem gavião
Carcará quando vê roça queimada
Sai voando e cantando
Carcará
Vai fazer sua caçada
Carcará
Come inté cobra queimada
Mas quando chega o tempo da invernada
No sertão não tem mais roça queimada
Carcará mesmo assim não passa fome
Os burrego que nasce na baixada
Carcará
Pega, mata e come
Carcará
Não vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Carcará é malvado, é valentão
É a águia de lá do meu sertão
Os burrego novinho num pode andar
Ele puxa no imbigo inté matar
Carcará
Pega, mata e come
Carcará
Não vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Carcará
Carcará
Carcará
Pega, mata e come
Carcará
Não vai morrer de fome
Carcará
Mais coragem do que homem
Carcará
Pega, mata e come
Waldemberg Miguel Silva
O perfil, o olhar, o movimento e o canto... Bethania se transforma no carcará que evoca.
Geordana Borges
Não basta cantar, tem que sentir e fazer sentir o que canta. Arte, nada mais.
Duilio Damaso
Arrepiei com este comentário,é verdade .
Elaih MMS
Exatamente, ela transcende a música...a canção toma forma, cor, vira história.
Nunca Diga Seu Nome
percebi isso na virada de rosto dela
Guinho Rocha
Interpretar a música sendo do contexto do local é outra história né, quando a Nara passou a bola pra Bethânia ingressar no show Opinião, acho que ela já sabia a diferença e peso que a música viria a ser com a voz da Bethânia.
Fabio Piovan
Ela mais parece uma força da natureza do que uma artista, ela é a própria obra prima...
Ronaldo Nascimento
Pra mim, é a Orixá da Música! AXÉ!
nome sobrenome
@Ronaldo Nascimento Ninguém nunca antes descreveu tão bem Maria Bethânia. Isso me deu até uma curiosidade em saber se existe realmente algum Orixá da Música. Será que existe mesmo? Se não existir esse título vai à Bethânia. Saravá Bethânia!
Rita Lasserre
Sempre achei isso!!!