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.
Costumes
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Certos velhos costumes
Eu pensei que já nem me lembrasse
De coisas passadas
Eu pensei que pudesse enganar
A mim mesmo dizendo
Que essas coisas da vida em comum
Não ficavam marcadas
Umas poucas palavras
Dessas coisas simples que dizemos
Antes de dormir
De manhã um bom dia na cama
A conversa informal
O beijo, depois o café
O cigarro e o jornal
Os costumes me falam de coisas e fatos antigos
Não esqueço de tardes alegres com nossos amigos
Um final de programa
Fim de madrugada
O aconchego na cama
A luz apagada
Essas coisas só mesmo com o tempo
Se pode esquecer
E então eu me vejo sozinha
Como estou agora
E respiro toda a liberdade
Que alguém pode ter
De repente ser livre até me assusta
Me aceitar sem você
Certas vezes me custa
Como posso esquecer dos costumes
Se nem mesmo esqueci
De você
In the song "Costumes," Maria Bethânia muses about the difficulty of letting go of old habits and routines after a relationship ends. She starts off by stating that she thought she could forget about certain old costumes that she and her partner shared. However, she finds that she cannot help but remember things from the past, such as the simple things they would say to each other before bed, morning routines, time spent with friends, and the feeling of being cozy at the end of a long day. As she continues with the song, she realizes that these routines still hold a special place in her heart, despite the fact that she no longer has a partner with whom to share them. She understands that eventually, with time, these memories might fade, but for now, she remembers them fondly.
The song highlights the feeling of loneliness and emptiness one might experience after a breakup or a loss. The memories and common routines that were once shared with someone are now gone, and it can be challenging to deal with that emptiness. Bethânia's voice conveys a sense of sadness, acceptance, and longing throughout the song. The lyrics are melancholic, melancholy but hopeful, as they remind us of the importance of taking time to remember past experiences, but also to move forward and embrace the freedom and possibilities that come with being alone.
Overall, "Costumes," is a reflection on the various ways we hold on to our memories of past relationships, particularly the habits or routines that we shared with our loved ones. It acknowledges the difficulty of moving on from those things but also the importance of acknowledging them as a part of our personal history.
Line by Line Meaning
Eu pensei que pudesse esquecer
I thought I could forget
Certos velhos costumes
Certain old habits
Eu pensei que já nem me lembrasse
I thought I didn't even remember anymore
De coisas passadas
Of past things
Eu pensei que pudesse enganar
I thought I could deceive
A mim mesmo dizendo
Myself, by saying
Que essas coisas da vida em comum
That these things from a life together
Não ficavam marcadas
Didn't leave a mark
Não pensei que me fizessem falta
I didn't think I would miss them
Umas poucas palavras
A few words
Dessas coisas simples que dizemos
Of those simple things we say
Antes de dormir
Before going to sleep
De manhã um bom dia na cama
Good morning in bed
A conversa informal
The casual conversation
O beijo, depois o café
The kiss, then the coffee
O cigarro e o jornal
The cigarette and the newspaper
Os costumes me falam de coisas e fatos antigos
The habits remind me of old things and events
Não esqueço de tardes alegres com nossos amigos
I don't forget the happy afternoons with our friends
Um final de programa
The end of a show
Fim de madrugada
Early morning
O aconchego na cama
The comfort in bed
A luz apagada
The light turned off
Essas coisas só mesmo com o tempo
These things, only time
Se pode esquecer
Can make you forget
E então eu me vejo sozinha
And then I find myself alone
Como estou agora
As I am now
E respiro toda a liberdade
And breathe all the freedom
Que alguém pode ter
That someone can have
De repente ser livre até me assusta
Suddenly being free even scares me
Me aceitar sem você
Accept myself without you
Certas vezes me custa
Sometimes it's hard for me
Como posso esquecer dos costumes
How can I forget the habits
Se nem mesmo esqueci
If I haven't even forgotten
De você
About you
Contributed by Elizabeth L. Suggest a correction in the comments below.
Bárbara Martins
esse cd todo é um espetáculo. pra chorar no banho, mesmo quem não ta sentindo a falta de alguém sofre haha
Cynthia guaraciara
Eu agora
JORGE EVANGELISTA
Estupendo! Um bálsamo!
Sales Salles
" E respiro toda liberdade que pode ter" essa canção é incrível e a intérprete é sem comentários ! sou eternamente Bethania! Grato demais.
Vitor Camargo
Senhoras e senhores, isso que é sofrencia! O que já chorei ouvindo essa música kkkk
darfurtado
TODA A MINHA VIDA COM MEU MARIDO FOI EMBALADA PELAS CANCÕES DO ROBERTO E ERASMO, DESDE A JOVEM GUARDA. HOJE ELE NÃO ESTÁ MAIS AQUI E TODAS ELAS ME FAZEM REVIVER E CHORAR LEMBRANDO DE TUDO, MAS SÃO LEMBRANÇAS LINDAS E DE FELICIDADE POR TANTOS ANOS. OBRIGADA, RAFAEL, POR TER POSTADO TANTAS DELAS.
Bethlem Oliveira
Sobre Maria Bethania, bom, nem há mais o que dizer!! Basta, apenas, ela cantar e interpretar para entendermos o porque dela ter se tornado um ícone da MPB! Esta música "costumes", do grande Roberto Carlos, pra mim, ficou melhor na voz dela! Aliás, todo este CD acima, é um espetáculo!
Victor Mendes
Perfeição de letra. Perfeição de voz. Meu coração fica abaladooo
Valnísia Amaral Alcântara
É importante reforçarmos o quanto ela é única!🎁🌻Repetir isso nunca é demais.
genilson diamantino
a senhora falou tuudo!!
ela é extraordinária.
timbre de voz fenômenal.