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.
Gente
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Deixa eu lhe contar
A história que a história não conta
O avesso do mesmo lugar
Na luta é que a gente se encontra
Brasil, meu dengo
A Mangueira chegou
Desde 1500
Tem mais invasão do que descobrimento
Tem sangue pisado retinto
Atrás do herói emoldurado
Mulheres, tamoios, mulatos
Eu quero um país que não está no retrato
Brasil, o teu nome é Dandara
Tua cara é de cariri
Não veio do céu
Nem das mãos de Isabel
A liberdade é um dragão no mar de Aracati
Salve os caboclos de julho
Quem foi de aço nos anos de chumbo
Brasil, chegou a vez
De ouvir as Marias, Mahins, Marielles, malês
Mangueira, tira a poeira dos porões
E abre alas pros teus heróis de barracões
Dos Brasis que se faz um país de Lecis, Jamelões
São verde-e-rosa as multidões
Mangueira, tira a poeira dos porões
E abre alas pros teus heróis de barracões
Dos Brasis que se faz um país de Lecis, Jamelões
De Lecis, Jamelões
De Lecis, Jamelões
De Lecis, Jamelões
The lyrics of Maria Bethânia's song "Histórias Pra Ninar Gente Grande" provide a critical reflection on Brazilian history and society. The song addresses the untold stories and the hidden realities of Brazil that are often neglected in traditional historical accounts. It highlights the struggles of the Brazilian people and the need for unity in their fight for a better future.
The first verse portrays Brazil as a "negro" (black) country, which can be interpreted as a metaphor for its rich cultural diversity. The lyrics emphasize that the true history of Brazil is not found in textbooks but in the struggles and encounters of its people. The phrase "O avesso do mesmo lugar" (The reverse of the same place) suggests that the hidden side of Brazil is where its true essence lies, and it is through the struggle that the people truly find themselves.
The second verse introduces the Mangueira, a famous samba school from Rio de Janeiro, highlighting its importance in preserving the stories that have been erased from history books. It mentions the year 1500, referring to the arrival of the Portuguese colonizers, and criticizes the idea of "descobrimento" (discovery) by highlighting the bloodshed and oppression that followed. The lyrics mention various marginalized groups and call for a country that includes all its diverse people, not just the heroes depicted in framed portraits.
The chorus pays tribute to Dandara, a Afro-Brazilian warrior and resistance figure, and states that the image of Brazil reflects the people from the Cariri region, rejecting the notion that the country was shaped by divine intervention or the actions of Princess Isabel. The dragon in the sea of Aracati symbolizes the struggle for freedom and equality.
The closing verses celebrate the heroes overlooked by history, such as the "caboclos de julho" (indigenous people) and those who resisted during the oppressive years of military dictatorship. The song declares that it is time to listen to the voices of the women, activists like Marias, Mahins, Marielles, and the Malês (Muslim African slaves who revolted in Bahia in the 1830s).
Overall, "Histórias Pra Ninar Gente Grande" is a powerful and thought-provoking song that challenges the traditional narratives of Brazilian history, highlighting the struggles and resistance of marginalized groups and calling for a more inclusive and just society.
Line by Line Meaning
Brasil, meu nego
Brazil, my dear
Deixa eu lhe contar
Let me tell you
A história que a história não conta
The story that history doesn't tell
O avesso do mesmo lugar
The opposite side of the same place
Na luta é que a gente se encontra
In the struggle is where we find ourselves
Brasil, meu dengo
Brazil, my love
A Mangueira chegou
Mangueira has arrived
Com versos que o livro apagou
With verses erased from the book
Desde 1500
Since 1500
Tem mais invasão do que descobrimento
There is more invasion than discovery
Tem sangue pisado retinto
There is deep bruised blood
Atrás do herói emoldurado
Behind the framed hero
Mulheres, tamoios, mulatos
Women, indigenous people, mixed race
Eu quero um país que não está no retrato
I want a country that is not in the picture
Brasil, o teu nome é Dandara
Brazil, your name is Dandara
Tua cara é de cariri
Your face is from Cariri
Não veio do céu
Didn't come from the sky
Nem das mãos de Isabel
Nor from the hands of Isabel
A liberdade é um dragão no mar de Aracati
Freedom is a dragon in the sea of Aracati
Salve os caboclos de julho
Hail the caboclos of July
Quem foi de aço nos anos de chumbo
Those who were made of steel during the lead years
Brasil, chegou a vez
Brazil, it's time
De ouvir as Marias, Mahins, Marielles, malês
To listen to the Marias, Mahins, Marielles, Malês
Mangueira, tira a poeira dos porões
Mangueira, dust off the basements
E abre alas pros teus heróis de barracões
And make way for your heroes from the slums
Dos Brasis que se faz um país de Lecis, Jamelões
From the different Brazils that make up a country of Lecis, Jamelões
São verde-e-rosa as multidões
The crowds are green and pink
De Lecis, Jamelões
Of Lecis, Jamelões
De Lecis, Jamelões
Of Lecis, Jamelões
De Lecis, Jamelões
Of Lecis, Jamelões
Lyrics © Universal Music Publishing Group
Written by: Tomaz Miranda, Ronie Oliveira Oliveira, Marcio Bola, Deivid Domenico, Danilo Firmino
Lyrics Licensed & Provided by LyricFind
Thiago Alberto
Queria que essa canção voltasse aos shows❤
Wan
Thiago Alberto voltou!!
Jose Saulo de Almeida
Do mano Caetano para a mana Bethânia. Talento na veia.