An uncommon artist with an uncommon sopranino voice, Ney Matogrosso fell in the Brazilian popular music scene like a bomb in the '70s aboard the Secos & Molhados. The end of the group marked the beginning of a fertile and successful solo career in which he began exploring his sensuous and charismatic persona through satiric and ironic repertories. As time passed, he substituted self-contained and deeply sensitive interpretations of classics for the popular and classical Brazilian music. Along with his representative and prolific solo discography, for which he received three platinum and three gold records, Matogrosso recorded in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Festivals (Switzerland), and toured Portugal several times. He also performed in Israel and the U.S., but always refused invitations to develop an international career. Matogrosso also worked as an actor in Sonho de Valsa (by Ana Carolina, the director, not the singer/composer) and Caramujo Flor (short subject by Joel Pizzini), and directed shows by RPM, Cazuza, and Simone.
Arriving in Rio de Janeiro in 1966, Matogrosso became a hippie leather artisan and divided his time between Rio, São Paulo, and Brasília, where he was a close friend of singer/composer Luli. Through her he met João Ricardo, who had a vision for a groundbreaking group and was searching for a high-pitched male voice. Invited by Ricardo, Matogrosso moved to São Paulo where he spent one year dedicating himself to exhaustive rehearsals, artisanship, and theater plays. With the explosive success of Secos e Molhados and the group's final dissolution, Matogrosso started his solo career exploring his unusual voice timbre, his mesmerizing scenic persona, and his androgynous visuals, enhanced by innovative and exotic costumes. A second solo album, Água do Céu - Pássaro, was supported by the show Homem de Neanderthal, in 1975, with which Matogrosso opened in Rio de Janeiro, drawing both raves and packed houses. "Barco Negro" and "Homem com H" appeared amongst considerable polemics aroused by the usual conservatives on duty. In that period, he worked with Astor Piazzola in Milan, Italy, where he recorded a double single with the Argentinean composer. A cleaner Matogrosso recorded Bandido in 1976, having his first national hit as a solo artist with "Bandido Corazón," written especially for him by Rita Lee.
Pronomes
Ney Matogrosso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu você e ela
Você e eu
Você não quis me ferir
Eu não quis te magoar
Ninguém vai nos entender
Querem se escandalizar
Até preferem fingir
Até preferem matar
Até preferem morrer
Do que ter de aceitar
Que no mundo somos
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ela
Você e eu
Você sai pela cidade
Se encanta com as luzes
Se arrisca cedo ou tarde
Apalpar o que te ilude
É difícil de esquecer
Ninguém diz que vai queimar
Nunca foi tão bom arder
Só pra nos fascinar
Shake it up, baby
Shake it up, baby
Shake it up, baby
Shake it up, baby
Shake it up, baby
Shake it up, baby
Shake it up, baby
Shake it up, baby
Você não quis me ferir
Eu não quis te magoar
Ninguém vai nos entender
Querem se escandalizar
Até preferem fingir
Até preferem matar
Até preferem morrer
Do que ter de aceitar
Que no mundo somos
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ele
Nós, vós, eles, você e eu
Eu, você e ela
Você e eu
Você e eu
Você e eu
Você e eu
Você e eu
Você e eu
Você e eu
The lyrics of Ney Matogrosso's song "Pronomes" reflect themes of individuality, society's judgment, and the complexities of relationships. The repetition of phrases like "Eu, você e ele, Nós, vós, eles, você e eu" highlights the presence and importance of different pronouns representing different individuals and their interactions. It serves as a reminder that we are all unique individuals with our own perspectives, desires, and experiences.
The line "Eu você e ela, Você e eu" suggests that the song explores various relationship dynamics and the complexities of love and desire. It acknowledges that relationships can involve multiple people and that there are different types of connections that exist.
The following lines express a sense of misunderstanding and judgment from society. The lyrics state, "Você não quis me ferir, Eu não quis te magoar, Ninguém vai nos entender, Querem se escandalizar." This highlights the struggle for individuals to be accepted and understood by society, and how some people would rather create scandal or pretend not to understand rather than accept different types of relationships.
The lyrics also touch upon the idea of self-expression and the desire to chase desires and illusions. The lines "Você sai pela cidade, Se encanta com as luzes, Se arrisca cedo ou tarde, Apalpar o que te ilude" suggest a yearning for excitement, adventure, and exploring what may be elusive or illusory. This can be interpreted as a search for one's true self and desires, even if it means taking risks and defying societal norms.
The repeated phrase "Shake it up, baby" can be seen as a rallying cry to break free from societal expectations and embrace one's own unique identity and desires. It encourages individuals to challenge the status quo and celebrate their individuality.
Overall, "Pronomes" by Ney Matogrosso explores themes of individuality, societal judgment, the complexities of relationships, and the pursuit of personal desires. The song encourages self-expression and challenges societal norms, reminding listeners that everyone deserves acceptance and understanding in a diverse and ever-changing world.
Line by Line Meaning
Eu, você e ele
Me, you, and him
Nós, vós, eles, você e eu
We, you all, they, you and I
Eu você e ela
Me, you, and her
Você não quis me ferir
You didn't want to hurt me
Eu não quis te magoar
I didn't want to hurt you
Ninguém vai nos entender
No one will understand us
Querem se escandalizar
They want to scandalize us
Até preferem fingir
Even prefer to pretend
Até preferem matar
Even prefer to kill
Até preferem morrer
Even prefer to die
Do que ter de aceitar
Than having to accept
Que no mundo somos
That in the world we are
Você sai pela cidade
You walk around the city
Se encanta com as luzes
You are enchanted by the lights
Se arrisca cedo ou tarde
You take risks early or late
Apalpar o que te ilude
To touch what deceives you
É difícil de esquecer
It's hard to forget
Ninguém diz que vai queimar
No one says it will burn
Nunca foi tão bom arder
It was never so good to burn
Só pra nos fascinar
Just to fascinate us
Shake it up, baby
Shake it up, baby
Você e eu
You and I
Writer(s): Joao Alberto Boing Flores Da Costa, Paulo Henrique Carvalho Passos
Contributed by Emily C. Suggest a correction in the comments below.
Mac 007
Abaixo o preconceito, sem ideologias, somos todos iguais e fim de papo.
Ney você é o cara!!!
ALMIR RIVEIRA
esse álbum é todo massa!!!
leo rs
se o Ney tivesse uma página no face oficial ia bombar demaisss!!
fdc.ryuuku
essa técnica vocal dele é mt foda(sou leigo n sei se essa é a voz real dele)
Católico da Floresta
Composição dos queridos Beto Boing e Paulo Passos. É difícil ouvir sem escutar a voz do Rapha Z vindo do quartinho "Sarajevo" da memória.
Paula Oliveira Liz
Lindo ,maravilhoso!
ALMIR RIVEIRA
nossa!! que música !!
Viviene Xavier
MUITO BOMMMMM!!!!
Cristina Berner
It is great ney!
Jose Felismino sobrinho
Mesmo sendo esclarecidas muitas pessoas usam de preconceitos, é a cultura passada de muita gente para outras gentes.