Stimulated by the talent and the interest in the rising phenomenon of the Brazilian Rock, soon they had recorded their first LP “Cinema Mudo” (1983) and had become a success with songs such as “Vital e sua Moto” and “Patrulha Noturna”.
The second LP “O Passo do Lui” (1984), consolidated the initial pull with the hits “Óculos”, “Ska” and “Meu Erro”, but it was in the presentation during the Rock in Rio Festival in January 1985, that they were definitely consecrated after their two concerts only for the power of their music, not for any scenic artifice.
After having toured throughout Brazil (more than 150 shows), Paralamas made a stop and released the revolutionary “Selvagem” (1986), that gave new routes to the Brazilian Rock 80’s generation. They abandoned the first influences and started to mold a personal sonority recognized and approved by the youth that bought more than 750 thousand copies of the album. In “Selvagem”, social (“Alagados”) and politics criticism (“Selvagem”) coexisted with good mood (“Melô do Marinheiro”), a tribute to Tim Maia (“Você”) and a partnership with Gilbert Gil (“A Novidade”).
At this time they made the first incursions in Latin America, initiating a work that would lead them to be the most recognized act of the Brazilian music in the decade of 90 in countries as Argentina, Chile, Uruguay and Venezuela. The “Selvagem” success also gave them the right to be the first group of their generation to participate of the Montreux Jazz Festival, in 1987, when they took advantage to also perform at the Olympia in Paris.
The concert in Montreux was recorded and became the LP and video “D” (1987), with the participation in the keyboards of João Fera and George Israel (sax), as special invited.
In the following year a new successful LP “Bora Bora”. The hits “O Beco”, “Uns Dias” and “Quase um Segundo” extended the series of influences and added brass instruments to the sound of Paralamas.
The following LP “Big Bang” (1989) would consolidate the new sonorous format in exciting songs as “Perplexo” and lyric ones as “Lanterna dos Afogados”, as well as a bossa-nova “Nebulosa do Amor”.
To turn the decade, the trio released the compilation “Arquivo” with their hits of the 80’s, the rerecording of their first hit “Vital e sua Moto” and also the new song “Caleidoscópio”.
The first half of the 90’s would be dedicated to the experiment and the conquest of the Latin American market. The album “Os Grãos” (1991, with songs of minor popular appeal, was not a sales success, but it did not affect the band itself. Herbert, Bi and Barone spent three months in London with the producer Phil Manzanera recording “Severino” (1994), considered by many revewers the “Sgt. Pepper's of 80’s generation” of the Brazilian Rock. In despite of that, the radios did not play the album and the exit for Paralamas was the airport.
In 1992, they released in the Latin American countries the compilation “Paralamas”, with versions in Spanish of their hits, what opened for them the markets that they had been visiting repeatedly since 1986. They started being each time more requested for shows, due to the great success of the Spanish version of “Severino” baptized “Dos Margaritas”.
But the excellent tour of “Severino” throughout Brazil confirmed that Paralamas does not need to have a song on the hit parades to attract the audience, so they decided to release “Vamo Batê Lata” – Paralamas Ao Vivo” (1995). Attached there was a four track bonus CD. The explosion of one of tracks “Uma Brasileira”, a Herbert and Carlinhos Brown partnership, with the special participation of Djavan, led the trio back to the mega success. A second song “Luiz Inácio (300 picaretas)” would lead the band to the politician news after being forbidden to play it in a show in Brasilia, under allegation that the song wounded the honor of the noble members of the Chamber House. The song referred to a declaration of the current Brazilian president, at the time a Federal Deputy, that in the National Congress there were some honored men and 300 tramps. Herbert detonated the political class at that time.
In 1995, Paralamas initiated a pull in the MTV Video Music Brazil that would take them to gather up 11 prizes up to 1999. In that year, the video “Uma Brasileira” got the awards for the best pop video and the video of the audience.
From there on Paralamas sailed in the rhythm of success with two more studio albums: “Nove Luas” (1996) – with the tracks “Lourinha Bombril” (awarded with the best video of the year, best edition and direction in the MTV Video Music Brazil (VMB) and “Busca Vida” (best video of the year in the VMB) – and “Hey Na Na” (1998) – with the tracks “Ela Disse Adeus” (five awards in the VMB: best video of the year, best pop video, best direction, photograph and direction of art) and “O Amor não Sabe Esperar” with the participation of Marisa Monte. The video “Depois da Queda o Coice” gained the VMB for the best edition.
In 1999, it was the time for a project that they have dreamt of during the entire decade, the album “MTV Unplugged”. Instead of making a revision of their career through the successes, they opted by a repertoire dominated by significant songs that had not received the due attention (“Bora Bora”, “Vai Valer” and “Trem da Juventude”) with homage to Chico Science and the group Legião Urbana, the new song “Sincero Breu” and “Um Amor Um Lugar”, recorded before by Fernanda Abreu. The CD sold more than 500 thousand copies and gained the Latin Grammy for the best Brazilian rock album.
The victorious “Unplugged” tour was extended until the end of 2000, when the trio released the compilation “Arquivo 2”, that brought the unpublished “Aonde quer que eu vá”, a Herbert Vianna and Pablo Sergio Valle partnership, one of the great composers of the Brazilian Popular Music (MPB).
At that time, Paralamas announced a six month stop for vacations and a reformulation in the sound of the group, after almost two decades of career. The plans pointed to a new rock album and, primordially, in trio.
This CD was recorded and is titled “Longo Caminho”, but the tragic accident that Herbert suffered on February 4th 2001, left the Brazilian music in mourning. The fall of the small plane in the Angra dos Reis Bay, Rio de Janeiro, when he was on the way to Dado Villa Lobos home, killed his wife, Lucy Needham Vianna and it left him between life and death. The entire country followed Herbert’s fight for survival in the hospital Copa D’Or, in Copacabana, Rio de Janeiro.
It has been a difficult journey since then due to the sequels of the accident: Herbert is in a wheel chair and has not recovered the cerebral functions fully yet, but all that has not incapacitated him for music and in October 2002, he started the rehearsals with the complete band in his home studio. The result was so good that it led gradually to the new CD, with the repertoire composed before the accident.
The Band:
Herbert Vianna:vocals and guitar
Bi Ribeiro:bass
João Barone:Drums
Ska
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Você não entendeu
Ninguém foi ao seu quarto
Quando escureceu
Saber o que passava
No seu coração
Se o que você fazia
Era certo ou não
E a mocinha se perdeu
Olhando o sol se pôr
Que final romântico
Morrer de amor
Relembrando da janela
Tudo o que viveu
Fingindo não ver
Os erros que cometeu
E assim tanto faz
Se o herói não parecer
E daí?
Nada mais
A vida não é filme
Você não entendeu
De todos os seus sonhos
Não restou nenhum
Ninguém foi ao seu quarto
Quanto escureceu
E só você não viu
Não era filme algum
The lyrics of Os Paralamas Do Sucesso's song "Ska" explore the idea that life is not like a movie - there are no guaranteed happy endings or easy solutions. The opening verse speaks to the feeling of isolation and uncertainty that can come with growing up and trying to figure out one's place in the world. The singer suggests that no one came to their room when it got dark, leaving them to grapple with their own emotions and decisions alone. The uncertainty is reinforced in the line "Saber o que passava no seu coração / Se o que você fazia era certo ou não" (Knowing what was going on in your heart / Whether what you were doing was right or wrong).
The second verse focuses on the idea of nostalgia and the romanticization of the past. The "mocinha" (young woman) gets lost in watching the sunset and creating a romantic fantasy of "dying of love", ignoring the mistakes she made in the past. The line "Relembrando da janela tudo o que viveu / Fingindo não ver os erros que cometeu" (Remembering from the window everything she lived / Pretending not to see the mistakes she made) speaks to the way we can sometimes idealize the past and sweep our own mistakes under the rug.
Overall, "Ska" offers a sobering perspective on life and the struggle to make sense of our experiences. Rather than succumbing to the temptation to romanticize or simplify our struggles, the song encourages us to face reality head-on and acknowledge the difficulties that come with being human.
Line by Line Meaning
A vida não é filme
Life is not like the movies - it doesn't always have a happy or predictable ending
Você não entendeu
You didn't understand this fact
Ninguém foi ao seu quarto
No one came to your room
Quando escureceu
When it got dark outside
Saber o que passava
To know what was going on
No seu coração
Inside your heart
Se o que você fazia
If what you were doing
Era certo ou não
Was right or wrong
E a mocinha se perdeu
And the young lady got lost
Olhando o sol se pôr
Watching the sun set
Que final romântico
What a romantic ending
Morrer de amor
To die of love
Relembrando da janela
Remembering from the window
Tudo o que viveu
All that was experienced
Fingindo não ver
Pretending not to see
Os erros que cometeu
The mistakes that were made
E assim tanto faz
And so it doesn't matter
Se o herói não parecer
If the hero doesn't appear
E daí?
So what?
Nada mais
Nothing more
De todos os seus sonhos
Of all your dreams
Não restou nenhum
None were left
E só você não viu
And only you didn't see
Não era filme algum
There wasn't any movie
Lyrics © EMI Music Publishing
Written by: Herbert Lemos De Souza Vianna
Lyrics Licensed & Provided by LyricFind
Igor Nunes
A vida não é filme, você não entendeu
Ninguém foi ao seu quarto quando escureceu
Sabendo o que passava no seu coração
Se o que você fazia era certo ou não
E a mocinha se perdeu olhando o sol se pôr
Que final romântico, morrer de amor
Relembrando na janela tudo que viveu
Fingindo não ver os erros que cometeu
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
A vida não é filme, você não entendeu
De todos os seus sonhos não restou nenhum
Ninguém foi ao seu quarto quando escureceu
E só você não viu, não era filme algum
E a mocinha se perdeu olhando o sol se pôr
Que final romântico, morrer de amor
Relembrando na janela tudo que viveu
Fingindo não ver os erros que cometeu
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
Igor Nunes
A vida não é filme, você não entendeu
Ninguém foi ao seu quarto quando escureceu
Sabendo o que passava no seu coração
Se o que você fazia era certo ou não
E a mocinha se perdeu olhando o sol se pôr
Que final romântico, morrer de amor
Relembrando na janela tudo que viveu
Fingindo não ver os erros que cometeu
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
A vida não é filme, você não entendeu
De todos os seus sonhos não restou nenhum
Ninguém foi ao seu quarto quando escureceu
E só você não viu, não era filme algum
E a mocinha se perdeu olhando o sol se pôr
Que final romântico, morrer de amor
Relembrando na janela tudo que viveu
Fingindo não ver os erros que cometeu
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
E assim
Tanto faz
Se o herói não aparecer, e daí?
Nada mais
Wilsinho Viesti
ja tem a letra inteira acima , perdeu tempo digitando tudo de novo
𝑪𝒐𝒏𝒕𝒂_𝑻𝒖𝒅𝒐_𝑪𝒂𝒌𝒆!
Amigo.. tá tudo isso na desc, não precisava disso tudo
Jean Costa
Não conhecia, vi na abertura da novela e já salvei no Spotify. Muito boa
Tiago NET
só quem é das antigas conhece. jovens de hj não curtem músicas assim !!!
@M1KUs
Sim!
Arthur Feitosa
Desse modelo !
Sergio das Dores
Eu conhecia a música desde da época de criança, mas fazia muito tempo que eu não ouvia, eu também já gravei a música no Spotify, gravei também a abertura de Cara e Coragem e acho essa trilha sonora bem dançante, agora que curto a novela, já que admiro a atriz Paolla Oliveira, agora com a trilha sonora da novela com a música do Paralamas, ficou bacana demais.
Walerio Bandeira
Ouvia esta música quando criança. Só agora quando adulto vejo que é um choque de realidade aos mimados que não fazem o próprio caminho. FANTÁSTICO! Obrigado Paralamas!
Rose Barreto
Para que algo surja como a coragem de fazer o próprio caminho, é necessário também um terreno bem cuidado. Nem todas pessoas têm a chance de florescer.