Born in Rio de Janeiro to a family deeply rooted in the samba tradition, Paulinho met and befriended much of Rio's samba elite as a child. His father was a guitar player and musicians like Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians. He began writing his own songs as a teenager, but never considered a career as a professional musician until he met poet Hermínio Bello de Carvalho in 1964. By then, Paulinho was working as a teller at a bank in Rio de Janeiro, and recognised Hermínio from the jam sessions at Jacob do Bandolim's house. The two became close friends and soon began writing music together. The first song they wrote together was Duvide-o-dó, recorded by singer Isaurinha Garcia. He then began performing his own songs at a restaurant in Rio, owned by samba legend Cartola and his wife.
He got his famous nickname in 1965, when he was a member of the samba group A Voz do Morro (the voice of the hills), alongside Zé Keti and Oscar Bigode. After their first recording session, a publicist from the record label reportedly told him "'Paulo César' is not a samba name!". Zé Keti and journalist Sérgio Cabral eventually came up with the nickname "Paulinho da Viola" (something to the lines of "Guitar Paul").
By the 1970s, Paulinho was at the most prolific stage of his career, releasing an average of one album per year. He was already a household name in samba, choro and MPB circles and broadened his audience by touring all over Brazil and also playing at festivals in Europe and the USA. His productivity and popularity had waned by the mid-80s, when he decided to focus more on his songwriting. In 1996 he regained notoriety after releasing the much-acclaimed album Bebadosamba, in which he once again joined forces with Hermínio Bello de Carvalho and Elton Medeiros, his early songwriting partners. He still lives in Rio de Janeiro and performs around Brazil.
Sonho de um carnaval
Paulinho da Viola Lyrics
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Deixei a dor em casa me esperando
E brinquei e gritei e fui vestido de rei
Quarta feira sempre desce o pano
Carnaval, desengano
Essa morena me deixou sonhando
Mão na mão, pé no chão
Quarta feira sempre desce o pano
Era uma canção, um só cordão
E uma vontade
De tomar a mão
De cada irmão pela cidade
No carnaval, esperança
Que gente longe viva na lembrança
Que gente triste possa entrar na dança
Que gente grande saiba ser criança
The lyrics of Paulinho Da Viola's song "Sonho de um Carnaval" reflect on the bittersweet experience of Carnival, with its joyous celebration and inevitable ending. The first verse sets the scene by describing how the singer, seeking to escape from pain and disappointment, throws himself wholeheartedly into the revelry of Carnival, dressed as a king. However, he knows that this temporary escape will come to an end on Ash Wednesday, when reality will once again set in.
The second verse focuses on a particular memory from Carnival, when the singer danced and held hands with a beautiful woman, only to be left with nothing but a vague dream afterwards. The repetition of the phrase "Quarta-feira sempre desce o pano" (Wednesday always ends the show) emphasizes the transience of this momentary joy and the inevitability of returning to everyday life. The final verse is more optimistic, expressing the hope that the spirit of unity and camaraderie inspired by Carnival will continue to resonate long after the festivities are over, and that even those who are sad or distant can find a way to join in the dance and be part of the collective joy.
Line by Line Meaning
Carnaval, desengano
Carnival, disillusionment
Deixei a dor em casa me esperando
I left pain at home waiting for me
E brinquei e gritei e fui vestido de rei
I played, screamed, and dressed as a king
Quarta-feira sempre desce o pano
Wednesday always brings the end
Carnaval, desengano
Carnival, disillusionment
Essa morena me deixou sonhando
This brunette left me dreaming
Mão na mão, pé no chão
Hand in hand, feet on the ground
E hoje nem lembra não
And now she doesn't even remember
Quarta-feira sempre desce o pano
Wednesday always brings the end
Era uma canção, um só cordão
It was a song, one large crowd
E uma vontade de tomar a mão
And a desire to take each other's hand
De cada irmão pela cidade
Of every sibling throughout the city
No carnaval, esperança
In Carnival, hope
Que gente longe viva na lembrança
That distant people live in memory
Que gente triste possa entrar na dança
That sad people can join the dance
Que gente grande saiba ser criança
That adults know how to be children
Contributed by Harper J. Suggest a correction in the comments below.