Maria Bethânia Viana Teles Veloso (June 18, 1946, Santo Amaro da Purificaçã… Read Full Bio ↴Maria Bethânia Viana Teles Veloso (June 18, 1946, Santo Amaro da Purificação, Bahia, Brazil), professionally known as Maria Bethânia, is a Brazilian singer and occasional poet and songwriter, having acquired the title of "Abelha Rainha" (Queen Bee) throughout her career. She is the second best selling Brazilian female singer of all time, with more than 24 million albums sold, considered to be one of the greatest interpreters in the history of Brazilian popular music.

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.

Debaixo d'água / Agora
Maria Bethânia Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Mas tinha que respirar

Todo dia
Todo dia, todo dia
Todo dia
Todo dia, todo dia

Debaixo d'água por encanto, sem sorriso e sem pranto
Sem lamento e sem saber o quanto
Esse momento poderia durar
Mas tinha que respirar

Debaixo d'água ficaria para sempre
Ficaria contente, longe de toda gente
Para sempre no fundo do mar
Mas tinha que respirar

Todo dia
Todo dia, todo dia
Todo dia
Todo dia, todo dia

Debaixo d'água protegido, salvo, fora de perigo
Aliviado, sem perdão e sem pecado
Sem fome, sem frio, sem medo, sem vontade de voltar
Mas tinha que respirar

Debaixo d'água tudo era mais bonito
Mais azul, mais colorido
Só faltava respirar
Mas tinha que respirar

Todo dia
Agora que agora é nunca, agora posso recuar
Agora sinto minha tumba

Agora o peito a retumbar
Agora a última resposta
Agora quartos de hospitais

Agora abrem uma porta
Agora não se chora mais
Agora a chuva evapora

Agora ainda não choveu
Agora tenho mais memória
Agora tenho o que foi meu
Agora passa a paisagem

Agora não me despedi
Agora compro uma passagem
Agora ainda estou aqui
Agora sinto muita sede

Agora já é madrugada
Agora diante da parede
Agora falta uma palavra
Agora o vento no cabelo

Agora toda minha roupa
Agora volta pro novelo
Agora a língua em minha boca
Agora meu avô já vive

Agora meu filho nasceu
Agora o filho que não tive
Agora a criança sou eu
Agora sinto um gosto doce

Agora vejo a cor azul
Agora a mão de quem me trouxe
Agora é só meu corpo nu
Agora eu nasco lá de fora

Agora minha mãe é o ar
Agora eu vivo na barriga
Agora eu brigo pra voltar

Agora

Agora
Agora

Overall Meaning

The lyrics of "Debaixo d'água / Agora" by Maria Bethânia portray a deep contemplation of the state of being underwater and the contrast it presents to life on land. The song explores the idea that everything appears more beautiful, blue, and colorful under the water, but the singer still longs to breathe. The phrase "Só faltava respirar, mas tinha que respirar" (Only missing breathing, but had to breathe) highlights this yearning for air and the inherent paradox of being submerged.

The song also delves into the notion of being underwater as a peaceful and complete state. The lyrics describe it as resembling a fetus, serene, comfortable, and loved, without the need for solid ground, a roof, or contact with air. However, despite this idyllic depiction, the need for breath persists.

Throughout the song, the refrain "Todo dia" (Every day) is repeated, emphasizing the daily struggle of the singer to fulfill this basic human need. This repetition suggests a mundane existence, a routine of needing to breathe while under the water, even though it is more beautiful and appealing than life on the surface.

In the second part of the song, titled "Agora" (Now), the lyrics take a dramatic shift in tone and content. The refrain shifts to "Agora" (Now), and the lyrics become a rapid stream of consciousness, expressing a wide range of thoughts and emotions. The verses touch upon themes such as death and rebirth, memory and nostalgia, longing and arrival, and the passage of time. The word "Agora" is used to mark significant moments or realizations, suggesting a sense of urgency and the recognition of the present moment.

Overall, "Debaixo d'água / Agora" portrays a complex exploration of the desire to escape and find refuge in a different environment, while highlighting the fundamental need for oxygen and the constant strive to exist.

Line by Line Meaning

Debaixo d'água tudo era mais bonito
Underwater, everything was more beautiful

Mais azul mais colorido
More blue, more colorful

Só faltava respirar
Just needed to breathe