Nascimento was born in Rio de Janeiro, and grew up in Três Pontas, Minas Gerais. His mother was the maid Maria do Carmo Nascimento. When he was just a few months old, the boy was adopted by the family for whom his mother had previously worked: the couple Josino Brito Campos (a banker, mathematics teacher and electronic technician) and Lília Silva Campos (a music teacher). He lived in the boroughs of Laranjeiras and Tijuca in Rio de Janeiro. When he was 18 months old, his biological mother died and he moved with his adoptive parents to the city of Três Pontas, in the State of Minas Gerais.
In the earlier stages of his career, Nascimento played in two samba groups, Evolussamba and Sambacana. In 1963 he moved to Belo Horizonte, and his friendship with the Borges brothers (Marilton, Márcio e Lô Borges) led to the Clube da Esquina ("corner club") movement. Other members included Beto Guedes, Toninho Horta, Wagner Tiso, and Flavio Venturini.
Nascimento is famous for his chime-clear falsetto and tonal range, as well for highly acclaimed songs such as "Canção da América" ("Song from America") and "Coração de Estudante" ("Student's Heart"). The lyrics of "Coração de Estudante" remembers the funeral of the student Edson Luís, killed by police officers in 1968. The song became the hymn for the diretas Já campaign in 1984 and it was also played in the funeral of the late president Tancredo Neves the next year, who died before assuming the presidency.
While his reputation within Brazil was firmly established with his Clube da Esquina works, Nascimento's international breakthrough came with his appearance on jazz saxophonist Wayne Shorter's 1974 album "Native Dancer". This led to widespread acclaim, and collaborations with American stars such as Paul Simon, James Taylor, and Pat Metheny.
Through his friendship with guitarist Warren Cuccurullo, Nascimento came to work with the pop-rock band Duran Duran in 1993. Nascimento co-wrote and performed (in the Portuguese language) the song "Breath After Breath", featured on the band's 1993 album "Duran Duran". He also performed with the band in concert when they toured in Brazil, in support of that album. Nascimento earned a Grammy award for "Best World Music Album" in 1998 for his album "Nascimento", and was also nominated in 1991 and 1995.
Ponta de Areia
Milton Nascimento Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Da Bahia à Minas, estrada natural
Que ligava Minas ao porto, ao mar
Caminho do ferro mandaram arrancar
Velho maquinista com seu boné
Lembra o povo alegre que vinha cortejar
Maria Fumaça, não canta mais
Na praça vazia, um grito um ai
Casas esquecidas, viúvas nos portais
The lyrics of "Ponta de Areia" tell a story of a place that was once a bustling center of life and activity but has since fallen into neglect and abandonment. The title refers to the endpoint of a road that led from Bahia to Minas, a natural route used to transport goods from the interior to the port. However, the railway that once ran through this area has been dismantled and the old train conductor, represented in the lyrics by the "velho maquinista com seu boné", recalls the people who used to come to visit the area.
The chorus of the song, which repeats the words "Ponta de Areia, ponto final", serves to underscore the sense of finality and loss that permeates the lyrics. The once-beloved steam train, represented by the "Maria Fumaça", has long since stopped singing and is no longer a source of joy for the people who used to live nearby. The image of empty streets and forgotten houses, with only widows left to look out from their doorways, adds to the sense of melancholy and decay that the song evokes.
Line by Line Meaning
Ponta de areia, ponto final
The end point of a sandy beach
Da Bahia à Minas, estrada natural
A natural road connecting Bahia and Minas
Que ligava Minas ao porto, ao mar
That connected Minas to the port, to the sea
Caminho do ferro mandaram arrancar
The railway track was torn down
Velho maquinista com seu boné
Old train driver with his cap
Lembra o povo alegre que vinha cortejar
Remembers the happy people who came to court
Maria Fumaça, não canta mais
Maria Fumaça (old steam engine) doesn't sing anymore
Para moças, flores, janelas e quintais
For girls, flowers, windows, and backyards
Na praça vazia, um grito um ai
In the empty square, a scream, oh my
Casas esquecidas, viúvas nos portais
Forgotten houses, widows at the doorways
Lyrics © Sony/ATV Music Publishing LLC, Tratore
Written by: Fernando Brant, Milton Silva Campos Nascimento
Lyrics Licensed & Provided by LyricFind
@JeniferLohan
Ponta de areia ponto final
Da Bahia-Minas estrada natural
Que ligava Minas ao porto ao mar
Caminho de ferro mandaram arrancar
Velho maquinista com seu boné
Lembra o povo alegre que vinha cortejar
Maria fumaça não canta mais
Para moças flores janelas e quintais
Na praça vazia um grito, um ai
Casas esquecidas viúvas nos portais
@christianerazo94
Eu sou um colombiano amante da maravilhosa música brasileira, aprendo português. Saudações irmaõs brasileiros!
@consultorivone
Saudações e bons estudos!
@franclinmuniz1197
Depois ouve
Curvas do rio do Xangai.
@mizutamizuta7947
Saudações irmão
@hasd8887
Saudação irmão colombiano
@gabykiki1212
Saudações 🤚🏼🙂
@augustosantiago6769
Eu nao sou brasileiro... Mas eu adoro a musica brasileira, cultura, e muitas outras coisas de la. Milton Nascimento na minha opinao E un genio! Bela composicao que trascende os tempos. Perdao pelo meu Portugues :-(
@LucasCardamone
Que isso rapaz?
Não tem por que pedir perdão, escreveste muito bem.
Seu português está nota 10.
@teresalopes628
O povo brasileiro agradece
@danielrodriguessantos7846
Salve Milton. O cara é fodástico