Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Sa… Read Full Bio ↴Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Santo, Brazil) initiated a major revolution of customs in Brazil in the '60s. Reaching success in a period coinciding with the youth movement started by the The Beatles that was taking over the world, Carlos was the leader of Jovem Guarda ("Young Guard") . He led the TV show that became a generic denomination of a musical style and what was a definitive change of face to the Brazilian phonographic market and of the very art of marketing itself (with the advent of an aggressive merchandising of the JG's top figures, including films, clothes, etc.), encompassing deep behavioral/gestual/language influences widespread through his entire generation. His light music, derived from British pop, and his (and his partner's Erasmo Carlos) lyrics (happy, humorous, and full of fashionable youth slang and naïve though unexpectedly sexual) were deeply contrasting to the serious MPB, with its somber images and protest songs. After all, Brazil was living in a dark period of the military dictatorship, or the "years of lead" as they became known.
A few years later, in the late '60s, Carlos (counseled by his advisers) changed his style to become the most successful romantic artist in Brazil. Having written (always with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Jesus Cristo," "Debaixo dos Caracóis dos Seus Cabelos," etc.), Carlos accumulated virtually all possible accomplishments as a highly successful artist, including a solid international career with awards like the Grammy and top positions on Billboard's Latin charts. Though the adherence to a worn-out sentimental formula proved to be affective in commercial terms (more than 70 million albums sold in his career), it ultimately led him to be known, in the '80s and '90s, as a cheesy artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a resurgence of Jovem Guarda talents through tributes of new rockers and Carlos reached the 21st century uncontestedly enjoying his absolute title: the King.
Roberto Carlos was from a lower-middle-class family. At six, he lost one of his legs and began using a prosthesis. At nine, he debuted on his home city's local radio. In 1955, he moved to Niterói (Rio de Janeiro) and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to get into rock through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, also from his hometown, who, as a TV and radio producer, would be of considerable importance to Carlos's early professional years. Two years later, Carlos performed at TV Tupi, singing "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to open a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the future artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, who would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including at Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as Agüenta o Rojão and Minha Sogra é da Polícia (in which they backed up Cauby Peixoto on one song), Carlos and Erasmo played together in Erasmo's quartet the Snakes until Carlos was called by Imperial to take Carlos Lyra's place in the Os Terríveis band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Soon, Carlos left the band to try to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos often tried to "sit-in" at the famous temples Plaza nightclub and the clubs of the Beco das Garrafas, but to no avail. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a new release was launched, again in the bossa vein, "Brotinho Sem Juízo" and "Canção do Amor Nenhum" (again, both by Imperial). At the same time, Carlos would participate regularly in shows presented by Imperial, Os Brotos Comandam (TV Continental and Rádio Guanabara) and Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his first LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,500 copies sold in one year), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist who would become his most important collaborator: Erasmo Carlos. The duo's first hit was Carlos' rendition for an Erasmo version of "Splish Splash" (Bobby Darin), having as the B-side another classic written by them, "Parei na Contramão." The album was recorded and launched in 1963 as Carlos' fifth 78 rpm, accompanied by Renato e seus Blue Caps. It sold 7,500 copies, a modest amount today, but it represented a considerable selling then and the milestone of a new time.
In 1964, the LP É Proibido Fumar (backed by the Youngsters) had hits with the title track (by Carlos/Erasmo) and with Erasmo's version of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold almost 12,000 copies in 18 months and was considered high-selling then, but still behind the leader Carlos Alberto (a bolero singer), who was selling more than twice as much. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS wanting to take him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to also be distributed in Brazil, but as the military government considered anything in Spanish (the language of Fidel Castro and Che Guevara) dangerous to the country, the album was simply taken out of the catalog by the recording company.
In 1965, Carlos was elected the King for the first time by direct vote of the audience in a contest promoted by Antônio Aguillar on his Reino da Juventude show. Later, the title would be confirmed at the highly popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude broke all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' album reached fifth place according to IBOPE (a most-accredited public opinion research institute), however, it quickly fell several positions. In fact, he would only have an album at number one of the top parade by the end of the year, with his next LP. Until then, his rising success would sell over 20,000 copies of the double single with "História de um Homem Mau" (reaching fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste",
On September 5, Roberto Carlos opened the legendary show Jovem Guarda as the main host and also featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the first musical scene produced especially for Brazilian youth, representing a major cultural/behavioral/commercial breakthrough. After the show debut, Carlos' popularity reached levels unimagined until then. Scoring hits in Argentina and Brazil, Carlos became the best-seller for CBS. A double single with "A Garota do Baile," Carlos reached number two in November, behind the Beatles' "Help!" But his album Jovem Guarda, also launched in November, took only one week to push "Help!" out of number one on the Brazilian charts, selling almost 200,000 copies in one year. "Quero Que Vá Tudo Pro Inferno" became a nationwide hit and with the exception of brief periods of time, it reigned absolute at number one on the top parade during the entire first semester of 1966. After performing in Argentina, Uruguay, and Paraguay — countries in which the Spanish version of "O Calhambeque" continued to have success — Carlos went to Europe in April 1966, singing in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon departed for a tour that started in South America, then Central and North America, where he sang in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon). Roberto Carlos, released in December 1966 and went right to number one in the second week (remaining there until April 1967), sold 300,000 copies in less than a year. Also in 1967, Carlos starred the feature film Roberto Carlos em Ritmo de Aventura (whose soundtrack sold 300,000 copies, staying at number one from December 17 until June 1968; the film also broke all box-office records until then); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by Luís Carlos Paraná (reaching number one as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP Jovem Guarda. In June of the same year, Carlos departed for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left Jovem Guarda, which due to his absence would soon cease to exist. His departure was a result of a mature decision to migrate from a youth idol profile to that of a romantic singer. In the same year, Carlos won the San Remo Festival (XVIII Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film O Diamante Cor-de-Rosa (also a box office success), opening his own show Roberto Carlos à Noite (TV Record) on March 15. As a romantic singer, Carlos had several hits in the 1970s that still had his creative impetus, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Cristo," "Amada Amante," "Detalhes," "Debaixo dos Caracóis dos Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and two songs written by Caetano Veloso especially for him, "Como Dois e Dois" and "Muito Romântico." In that decade, Carlos also consolidated his international career doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the first of his highly successful annual seasons at the most important Carioca hall in terms of media resonance. In the early '70s, Carlos became the top record-selling Brazilian artist, a position he would keep for many consecutive years. After 1976, his albums were selling over 1,000,000 copies. His 1977 album Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 show also beat all records, with 250,000 spectators in six months throughout Brazil, while the album with "Café da Manhã," "Força Estranha," and "Lady Laura" sold 1.5 million copies.
In the '80s, Carlos also started to record in English and French (he had already recorded albums in Spanish, Italian, and, naturally, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists who sell more than five million copies outside Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single day, another record soon beaten by his own "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, his Sonrie reached first place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first Latin American artist to sell more albums than the Beatles (in 1994, having by then sold over 70 million copies of his albums). In the mid-'90s, with the retro Jovem Guarda wave, Carlos, who was worn out among the younger generations who had only known his romantic and sentimental hits directed at a middle-aged audience, had his importance recuperated by young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, who recorded Rei, a tribute to him with his old Jovem Guarda hits.
In 1998, his second wife Maria Rita discovered she had cancer (she would die in 1999), which shattered his peace of mind. Trying to keep on with his career, Carlos continued to record and perform after one year of reclusion. In 2001, he broke his contract with Sony (ex-CBS), the recording company through which he had released a vast majority of his albums, due to commercial reasons related to his wife's demise.
A few years later, in the late '60s, Carlos (counseled by his advisers) changed his style to become the most successful romantic artist in Brazil. Having written (always with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Jesus Cristo," "Debaixo dos Caracóis dos Seus Cabelos," etc.), Carlos accumulated virtually all possible accomplishments as a highly successful artist, including a solid international career with awards like the Grammy and top positions on Billboard's Latin charts. Though the adherence to a worn-out sentimental formula proved to be affective in commercial terms (more than 70 million albums sold in his career), it ultimately led him to be known, in the '80s and '90s, as a cheesy artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a resurgence of Jovem Guarda talents through tributes of new rockers and Carlos reached the 21st century uncontestedly enjoying his absolute title: the King.
Roberto Carlos was from a lower-middle-class family. At six, he lost one of his legs and began using a prosthesis. At nine, he debuted on his home city's local radio. In 1955, he moved to Niterói (Rio de Janeiro) and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to get into rock through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, also from his hometown, who, as a TV and radio producer, would be of considerable importance to Carlos's early professional years. Two years later, Carlos performed at TV Tupi, singing "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to open a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the future artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, who would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including at Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as Agüenta o Rojão and Minha Sogra é da Polícia (in which they backed up Cauby Peixoto on one song), Carlos and Erasmo played together in Erasmo's quartet the Snakes until Carlos was called by Imperial to take Carlos Lyra's place in the Os Terríveis band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Soon, Carlos left the band to try to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos often tried to "sit-in" at the famous temples Plaza nightclub and the clubs of the Beco das Garrafas, but to no avail. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a new release was launched, again in the bossa vein, "Brotinho Sem Juízo" and "Canção do Amor Nenhum" (again, both by Imperial). At the same time, Carlos would participate regularly in shows presented by Imperial, Os Brotos Comandam (TV Continental and Rádio Guanabara) and Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his first LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,500 copies sold in one year), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist who would become his most important collaborator: Erasmo Carlos. The duo's first hit was Carlos' rendition for an Erasmo version of "Splish Splash" (Bobby Darin), having as the B-side another classic written by them, "Parei na Contramão." The album was recorded and launched in 1963 as Carlos' fifth 78 rpm, accompanied by Renato e seus Blue Caps. It sold 7,500 copies, a modest amount today, but it represented a considerable selling then and the milestone of a new time.
In 1964, the LP É Proibido Fumar (backed by the Youngsters) had hits with the title track (by Carlos/Erasmo) and with Erasmo's version of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold almost 12,000 copies in 18 months and was considered high-selling then, but still behind the leader Carlos Alberto (a bolero singer), who was selling more than twice as much. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS wanting to take him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to also be distributed in Brazil, but as the military government considered anything in Spanish (the language of Fidel Castro and Che Guevara) dangerous to the country, the album was simply taken out of the catalog by the recording company.
In 1965, Carlos was elected the King for the first time by direct vote of the audience in a contest promoted by Antônio Aguillar on his Reino da Juventude show. Later, the title would be confirmed at the highly popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude broke all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' album reached fifth place according to IBOPE (a most-accredited public opinion research institute), however, it quickly fell several positions. In fact, he would only have an album at number one of the top parade by the end of the year, with his next LP. Until then, his rising success would sell over 20,000 copies of the double single with "História de um Homem Mau" (reaching fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste",
On September 5, Roberto Carlos opened the legendary show Jovem Guarda as the main host and also featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the first musical scene produced especially for Brazilian youth, representing a major cultural/behavioral/commercial breakthrough. After the show debut, Carlos' popularity reached levels unimagined until then. Scoring hits in Argentina and Brazil, Carlos became the best-seller for CBS. A double single with "A Garota do Baile," Carlos reached number two in November, behind the Beatles' "Help!" But his album Jovem Guarda, also launched in November, took only one week to push "Help!" out of number one on the Brazilian charts, selling almost 200,000 copies in one year. "Quero Que Vá Tudo Pro Inferno" became a nationwide hit and with the exception of brief periods of time, it reigned absolute at number one on the top parade during the entire first semester of 1966. After performing in Argentina, Uruguay, and Paraguay — countries in which the Spanish version of "O Calhambeque" continued to have success — Carlos went to Europe in April 1966, singing in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon departed for a tour that started in South America, then Central and North America, where he sang in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon). Roberto Carlos, released in December 1966 and went right to number one in the second week (remaining there until April 1967), sold 300,000 copies in less than a year. Also in 1967, Carlos starred the feature film Roberto Carlos em Ritmo de Aventura (whose soundtrack sold 300,000 copies, staying at number one from December 17 until June 1968; the film also broke all box-office records until then); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by Luís Carlos Paraná (reaching number one as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP Jovem Guarda. In June of the same year, Carlos departed for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left Jovem Guarda, which due to his absence would soon cease to exist. His departure was a result of a mature decision to migrate from a youth idol profile to that of a romantic singer. In the same year, Carlos won the San Remo Festival (XVIII Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film O Diamante Cor-de-Rosa (also a box office success), opening his own show Roberto Carlos à Noite (TV Record) on March 15. As a romantic singer, Carlos had several hits in the 1970s that still had his creative impetus, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Cristo," "Amada Amante," "Detalhes," "Debaixo dos Caracóis dos Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and two songs written by Caetano Veloso especially for him, "Como Dois e Dois" and "Muito Romântico." In that decade, Carlos also consolidated his international career doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the first of his highly successful annual seasons at the most important Carioca hall in terms of media resonance. In the early '70s, Carlos became the top record-selling Brazilian artist, a position he would keep for many consecutive years. After 1976, his albums were selling over 1,000,000 copies. His 1977 album Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 show also beat all records, with 250,000 spectators in six months throughout Brazil, while the album with "Café da Manhã," "Força Estranha," and "Lady Laura" sold 1.5 million copies.
In the '80s, Carlos also started to record in English and French (he had already recorded albums in Spanish, Italian, and, naturally, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists who sell more than five million copies outside Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single day, another record soon beaten by his own "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, his Sonrie reached first place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first Latin American artist to sell more albums than the Beatles (in 1994, having by then sold over 70 million copies of his albums). In the mid-'90s, with the retro Jovem Guarda wave, Carlos, who was worn out among the younger generations who had only known his romantic and sentimental hits directed at a middle-aged audience, had his importance recuperated by young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, who recorded Rei, a tribute to him with his old Jovem Guarda hits.
In 1998, his second wife Maria Rita discovered she had cancer (she would die in 1999), which shattered his peace of mind. Trying to keep on with his career, Carlos continued to record and perform after one year of reclusion. In 2001, he broke his contract with Sony (ex-CBS), the recording company through which he had released a vast majority of his albums, due to commercial reasons related to his wife's demise.
Jesucristo
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Miro al cielo y veo una nube blanca que está pasando
Miro a al tierra y veo una multitud que está caminando
Como esa nube blanca, esa gente no sabe adónde va
¿Quién les podrá decir, "El camino cierto es nuestro Señor"?
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo yo estoy aquí
Toda esa multitud en el pecho lleva el amor y paz
Y a pesar de todo la esperanza aumenta más
Mirando la flor que nace en suelo de aquel que tiene amor
Miro al cielo y siento aumentar la fe en mi salvador
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
En cada esquina veo el mirar perdido de un hermano (Jesús Cristo, Jesús Cristo)
En busca del mismo bien, con la misma fe viene caminando (Jesús Cristo, yo estoy aquí)
Es mi deseo ver aumentando siempre esa procesión (Jesús Cristo, Jesús Cristo)
Para que todos canten en una voz esta oración (Jesús Cristo, yo estoy aquí)
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Miro al cielo y veo una nube blanca que está pasando
Como esa nube blanca, esa gente no sabe adónde va
¿Quién les podrá decir, "El camino cierto es nuestro Señor"?
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo yo estoy aquí
Toda esa multitud en el pecho lleva el amor y paz
Y a pesar de todo la esperanza aumenta más
Mirando la flor que nace en suelo de aquel que tiene amor
Miro al cielo y siento aumentar la fe en mi salvador
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
En cada esquina veo el mirar perdido de un hermano (Jesús Cristo, Jesús Cristo)
En busca del mismo bien, con la misma fe viene caminando (Jesús Cristo, yo estoy aquí)
Es mi deseo ver aumentando siempre esa procesión (Jesús Cristo, Jesús Cristo)
Para que todos canten en una voz esta oración (Jesús Cristo, yo estoy aquí)
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
Jesús Cristo, Jesús Cristo
Jesús Cristo, yo estoy aquí
The song "Jesucristo" by Roberto Carlos is a Christian song filled with religious references and messages of hope and faith. In the beginning of the song, the singer uses repetitive lines and emphasizes the name of Jesus Christ. This repetition and emphasis show the singer's devotion to Jesus and how he believes that Jesus is guiding him in his life.
In the second part of the song, the singer talks about how he sees the world and the people in it. He sees a multitude of people walking aimlessly, not knowing where they are headed. However, he believes that they can find direction by following Jesus Christ. In the midst of this chaos, the singer also sees love and peace in people's hearts. These positive emotions give him hope, and he sees the presence of Jesus Christ in nature and the world around him.
Overall, "Jesucristo" celebrates the love and guidance of Jesus Christ and reminds people that they can always turn to him in times of difficulty. The song's uplifting message has resonated with many listeners, regardless of their religious affiliation, and has made it a classic in Latin American music.
Line by Line Meaning
Jesús Cristo, Jesús Cristo
Roberto Carlos is calling out to Jesus Christ
Jesús Cristo, yo estoy aquí
He is saying that he is here with Jesus Christ
Miro al cielo y veo una nube blanca que está pasando
Roberto Carlos looks up at the sky and sees a passing white cloud
Miro a la tierra y veo una multitud que está caminando
He looks down on earth and sees a crowd walking
Como esa nube blanca, esa gente no sabe adónde va
Like the cloud, the people do not know where they are going
¿Quién les podrá decir, "El camino cierto es nuestro Señor"?
Roberto Carlos wonders who will guide them and tell them that the true path is through Jesus Christ
Toda esa multitud en el pecho lleva el amor y paz
The crowd carries love and peace in their hearts
Y a pesar de todo la esperanza aumenta más
Despite everything, hope increases
Mirando la flor que nace en suelo de aquel que tiene amor
By looking at a flower growing on the ground of someone who has love
Miro al cielo y siento aumentar la fe en mi salvador
Roberto Carlos looks up and feels his faith in Jesus Christ increase
En cada esquina veo el mirar perdido de un hermano (Jesús Cristo, Jesús Cristo)
He sees the lost look of a brother on every corner
En busca del mismo bien, con la misma fe viene caminando (Jesús Cristo, yo estoy aquí)
Those brothers are searching for the same goodness and walking with the same faith as Roberto Carlos
Es mi deseo ver aumentando siempre esa procesión (Jesús Cristo, Jesús Cristo)
His wish is to see that procession always increasing
Para que todos canten en una voz esta oración (Jesús Cristo, yo estoy aquí)
So that everyone can sing this prayer in one voice
Lyrics © Tratore, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Erasmo Esteves, Roberto Carlos Braga
Lyrics Licensed & Provided by LyricFind
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@hyalmardiaz7553
Jesucristo, Jesucristo
Jesucristo, yo estoy aquí
Miro hacia el cielo y veo
una nube blanca que va pasando
miro a la tierra y veo
una multitud que va caminando
como esa nube blanca
la gente no sabe a dónde va,
quién les podrá decir
el camino que ellos deben tomar
Toda esa multitud en su pecho
lleva amor y paz, por eso,
para ellos sus esperanzas no morirán
Viendo la flor que nace en el
Alma de alguien que tenga amor
Miro hacia el cielo y veo
crecer la fe en mi salvador...
En cada esquina veo
miradas tristes de algunos más
buscan en este mundo
la dirección del camino a ti.
Es mi deseo ver aumentando
siempre esta vocación
para que todos canten
al mismo ritmo de esta canción
@user-lh9mg9vf4h
RECOGIENDO CON
EL SÉPTIMO SELLO
William Soto Santiago.
Domingo, 26 de abril de 1998
(Segunda actividad)
Ciudad de México, México
¿Para qué envía Su Ángel Mensajero? Para mostrarle a Su Iglesia las cosas que deben suceder pronto. ¿Y por qué Cristo, el cual prometió dar a conocer estas cosas, por qué Él mismo no las da a conocer? Pues Él mismo las da a conocer pero por medio de carne humana, por medio de Su Ángel Mensajero. Esa es la forma en que Jesucristo ha estado manifestado de edad en edad, en la primera edad, segunda, tercera, cuarta, quinta, sexta y séptima, y también es así para la Edad de la Piedra Angular.
Y por esa causa es que por medio de Su Ángel Mensajero es que son dadas a conocer todas estas cosas que deben suceder pronto; porque siempre Cristo ha usado un ser humano, un hombre, desde que Él, del Día del Pentecostés hacia acá, ha estado manifestado en la Tierra en Espíritu Santo, en el Nuevo Testamento, durante la
Dispensación de la Gracia, y así es para la Dispensación del Reino también.
Como también hizo en la Dispensación de la Ley y en dispensaciones anteriores a la Ley, siempre estuvo velado y revelado por medio de un ser humano, de un hombre, y por medio de ese hombre cumplió lo que Él prometió para cada tiempo
https://youtu.be/md6uy7I9rjk
@user-lh9mg9vf4h
RECOGIENDO CON
EL SÉPTIMO SELLO
William Soto Santiago.
Domingo, 26 de abril de 1998
(Segunda actividad)
Ciudad de México, México
¿Para qué envía Su Ángel Mensajero? Para mostrarle a Su Iglesia las cosas que deben suceder pronto. ¿Y por qué Cristo, el cual prometió dar a conocer estas cosas, por qué Él mismo no las da a conocer? Pues Él mismo las da a conocer pero por medio de carne humana, por medio de Su Ángel Mensajero. Esa es la forma en que Jesucristo ha estado manifestado de edad en edad, en la primera edad, segunda, tercera, cuarta, quinta, sexta y séptima, y también es así para la Edad de la Piedra Angular.
Y por esa causa es que por medio de Su Ángel Mensajero es que son dadas a conocer todas estas cosas que deben suceder pronto; porque siempre Cristo ha usado un ser humano, un hombre, desde que Él, del Día del Pentecostés hacia acá, ha estado manifestado en la Tierra en Espíritu Santo, en el Nuevo Testamento, durante la
Dispensación de la Gracia, y así es para la Dispensación del Reino también.
Como también hizo en la Dispensación de la Ley y en dispensaciones anteriores a la Ley, siempre estuvo velado y revelado por medio de un ser humano, de un hombre, y por medio de ese hombre cumplió lo que Él prometió para cada tiempo
https://youtu.be/md6uy7I9rjk
@user-lh9mg9vf4h
RECOGIENDO CON
EL SÉPTIMO SELLO
William Soto Santiago.
Domingo, 26 de abril de 1998
(Segunda actividad)
Ciudad de México, México
¿Para qué envía Su Ángel Mensajero? Para mostrarle a Su Iglesia las cosas que deben suceder pronto. ¿Y por qué Cristo, el cual prometió dar a conocer estas cosas, por qué Él mismo no las da a conocer? Pues Él mismo las da a conocer pero por medio de carne humana, por medio de Su Ángel Mensajero. Esa es la forma en que Jesucristo ha estado manifestado de edad en edad, en la primera edad, segunda, tercera, cuarta, quinta, sexta y séptima, y también es así para la Edad de la Piedra Angular.
Y por esa causa es que por medio de Su Ángel Mensajero es que son dadas a conocer todas estas cosas que deben suceder pronto; porque siempre Cristo ha usado un ser humano, un hombre, desde que Él, del Día del Pentecostés hacia acá, ha estado manifestado en la Tierra en Espíritu Santo, en el Nuevo Testamento, durante la
Dispensación de la Gracia, y así es para la Dispensación del Reino también.
Como también hizo en la Dispensación de la Ley y en dispensaciones anteriores a la Ley, siempre estuvo velado y revelado por medio de un ser humano, de un hombre, y por medio de ese hombre cumplió lo que Él prometió para cada tiempo
https://youtu.be/md6uy7I9rjk
@BernardoAguirreOficial
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Miro al cielo y veo una nube blanca
Que está pasando
Miro a al tierra y veo
Una multitud que está caminando
Como esa nube blanca
Esa gente no sabe adónde va
Quién les podrá decir
El camino cierto es nuentro señor.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Toda esa multitud
En el pecho lleva el amor y paz
Y a pesar de todo la esperanza
Aumenta más
Mirando la flor que nace en suelo
De aquél que tiene amor
Miro al cielo y siento
Aumentar la fé en mi salvador
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí.
En cada esquina veo
El mirar perdido de un hermano
En busca del mismo bien con la misma fé viene caminando
Es mi deseo ver
Aumentando siempre esa procisión
Para que todos canten
En una voz esta oración.
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
Jesús Cristo
Jesús Cristo
Jesús Cristo yo estoy aquí
@user-lh9mg9vf4h
RECOGIENDO CON
EL SÉPTIMO SELLO
William Soto Santiago.
Domingo, 26 de abril de 1998
(Segunda actividad)
Ciudad de México, México
¿Para qué envía Su Ángel Mensajero? Para mostrarle a Su Iglesia las cosas que deben suceder pronto. ¿Y por qué Cristo, el cual prometió dar a conocer estas cosas, por qué Él mismo no las da a conocer? Pues Él mismo las da a conocer pero por medio de carne humana, por medio de Su Ángel Mensajero. Esa es la forma en que Jesucristo ha estado manifestado de edad en edad, en la primera edad, segunda, tercera, cuarta, quinta, sexta y séptima, y también es así para la Edad de la Piedra Angular.
Y por esa causa es que por medio de Su Ángel Mensajero es que son dadas a conocer todas estas cosas que deben suceder pronto; porque siempre Cristo ha usado un ser humano, un hombre, desde que Él, del Día del Pentecostés hacia acá, ha estado manifestado en la Tierra en Espíritu Santo, en el Nuevo Testamento, durante la
Dispensación de la Gracia, y así es para la Dispensación del Reino también.
Como también hizo en la Dispensación de la Ley y en dispensaciones anteriores a la Ley, siempre estuvo velado y revelado por medio de un ser humano, de un hombre, y por medio de ese hombre cumplió lo que Él prometió para cada tiempo
https://youtu.be/md6uy7I9rjk
@user-lh9mg9vf4h
RECOGIENDO CON
EL SÉPTIMO SELLO
William Soto Santiago.
Domingo, 26 de abril de 1998
(Segunda actividad)
Ciudad de México, México
¿Para qué envía Su Ángel Mensajero? Para mostrarle a Su Iglesia las cosas que deben suceder pronto. ¿Y por qué Cristo, el cual prometió dar a conocer estas cosas, por qué Él mismo no las da a conocer? Pues Él mismo las da a conocer pero por medio de carne humana, por medio de Su Ángel Mensajero. Esa es la forma en que Jesucristo ha estado manifestado de edad en edad, en la primera edad, segunda, tercera, cuarta, quinta, sexta y séptima, y también es así para la Edad de la Piedra Angular.
Y por esa causa es que por medio de Su Ángel Mensajero es que son dadas a conocer todas estas cosas que deben suceder pronto; porque siempre Cristo ha usado un ser humano, un hombre, desde que Él, del Día del Pentecostés hacia acá, ha estado manifestado en la Tierra en Espíritu Santo, en el Nuevo Testamento, durante la
Dispensación de la Gracia, y así es para la Dispensación del Reino también.
Como también hizo en la Dispensación de la Ley y en dispensaciones anteriores a la Ley, siempre estuvo velado y revelado por medio de un ser humano, de un hombre, y por medio de ese hombre cumplió lo que Él prometió para cada tiempo
https://youtu.be/md6uy7I9rjk
@marcialfranciscocastilloji709
Soy uno de los que duda de de Jesús, pero cada vez me convenzo de la existencia de Él porque no me abandona, nunca me abandona, allí estoy con mis dificultades y Él está alentándome a que no me derrumbe.
@cedrovalle3290
Aquí lo importante es que el nunca duda de ti, no hace distinciónes, el salva a todos por igual, ya deja de dudar y entrégate a el!!
@patriciaguevara2347
Tengo a mi hermana en terapia intensiva y no despierta. Hoy se me vino esa canciòn a la mente y le ruego a Jesucristo que la despierte. 🙏🙏🙏
@lupitagonzalez859
Primero dios despertara
@marc-5472
En Jesucristo hay poder solo tienes que tener fe...
@joseluisgimenez6649
Bendiciones!❤
@andressalgueiros5820
creo en dios es un tema presioso de palito oertega resa mucho
@norbertoastorga8671
Testimonio, tenia 9 años mi.abuelita enferma se planto tres veces en su pies el.muerte ( pues lo vi que es Hombre) capucha y ropa blanca,manga tres cuartos ,brazos fuertes ! Y a ña tercera vez, se dirigió a mi y me apreto mi muslo izquierdo y me eleve en remolino y me vi en una cueva obscura! Había gente amarrada a un madero, con lumbre arriba de rodillas rezando! Avance y x los costados se oían latigazos,gritos y lamentos ,arrastrar de cadenas,y salí y !Ho, Dios estaba como a ochenta metros la entrada al paraiso! Doce puertas altas y anchas ,estaba una entreabierta y me asomé, había un hermoso sol que alumbra el monte santo! Con flores y árboles hermosos! Iba a entrar y me salio el señor jusus y me dijo" no entres hijo todavía no es tu día ni tu hora" regresate x donde veniste" y me encaminó x donde salí, y a un lado estaba la bestia horrible peleaba mi alma! Y Dios le ordenó ! Ya déjalo en Paz,lo has tentado ya varias veces! Te lo ordenó! Y decía grocerias, y bajaba san miguel de una nuve, y lo azotaba con espada, aullaba y revolcándose! En fuego! Regresé y desperté en mi cama! Estaba azustado y con miedo! Les conté a muchos y me decían fue una pesadilla" y ya de adulto ,llegué a la conclusión que dios me permitió todo eso para que de testimonio de que existe el Purgatirio, el Paraíso, y el infierno,lugar de la bestia ! Y de castigo eterno! Lo que dijo dios fue mi futuro ,que iba yo a vivir! Pues fui ,borracho jugador y mujeriego! Y a los 58 años ,llegó la conversión total ! Deje todo lo nalo y ahora comparto testimonios y comparto la palabra de Dios! Gracias dios mio! ♥ ♥ ♥
@nelsonsanchez8226
Jesucristo Yo estoy aquí Nelson reportándose amén.
@jaimeaugustomayalarotta575
Yo la escucharé hasta que el sr Jesucristo me tenga en VIDA