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.
Namorandinha De Um Amigo Meu
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Estou amando loucamente
A namoradinha de um amigo meu
Sei que estou errado
Mas nem mesmo sei como isso aconteceu
Um dia sem querer
Olhei em seu olhar
E disfarcei até pra ninguém notar
Não sei mais o que faço
Pra ninguém saber que estou gamado assim
Se os dois souberem
Nem mesmo sei o que eles vão pensar de mim
Eu sei que vou sofrer
Mas tenho que esquecer
O que é dos outros não se deve ter
Vou procurar alguém
Que não tenha ninguém
Pois comigo aconteceu
Gostar da namorada de um amigo meu
Comigo aconteceu
Gostar da namorada de um amigo meu
Não sei mais o que faço
Pra ninguém saber que estou gamado assim
Se os dois souberem
Nem mesmo sei o que eles vão pensar de mim
Eu sei que vou sofrer
Mas tenho que esquecer
O que é dos outros não se deve ter
Vou procurar alguém
Que não tenha ninguém
Pois comigo aconteceu
Gostar da namorada de um amigo meu
Comigo aconteceu
Gostar da namorada de um amigo meu
A namoradinha de um amigo meu
Sei que estou errado
Mas nem mesmo sei como isso aconteceu
Um dia sem querer
Olhei em seu olhar
E disfarcei até pra ninguém notar
Pra ninguém saber que estou gamado assim
Se os dois souberem
Nem mesmo sei o que eles vão pensar de mim
Eu sei que vou sofrer
Mas tenho que esquecer
O que é dos outros não se deve ter
Vou procurar alguém
Que não tenha ninguém
Pois comigo aconteceu
Gostar da namorada de um amigo meu
Comigo aconteceu
Gostar da namorada de um amigo meu
Não sei mais o que faço
Pra ninguém saber que estou gamado assim
Se os dois souberem
Nem mesmo sei o que eles vão pensar de mim
Eu sei que vou sofrer
Mas tenho que esquecer
O que é dos outros não se deve ter
Vou procurar alguém
Que não tenha ninguém
Pois comigo aconteceu
Gostar da namorada de um amigo meu
Comigo aconteceu
Gostar da namorada de um amigo meu
The lyrics of Roberto Carlos's song, "Namoradinha de um amigo meu" is about an individual who has fallen deeply in love with the girlfriend of their friend. The person knows it is wrong to have such feelings, but they couldn't help themselves - they don't even know how it happened. The person tries their best to hide their feelings and even disguises it, so no one will notice. However, the person is aware that if the couple finds out, it will have dire consequences. The person acknowledges that they will suffer but needs to move on and forget about their feelings since one should not take what belongs to others.
The song is about the struggle of someone falling in love with someone who is already taken, knowing that it is wrong and how one has to overcome their emotions to do the right thing. The lyrics suggest that it is okay to feel emotions and fall in love, but it is wrong to act on them if they are aimed at someone who belongs to another. The song targets romantic love, making it clear that it is about affection and not lust.
Line by Line Meaning
Estou amando loucamente
I am deeply in love
A namoradinha de um amigo meu
With my friend's girlfriend
Sei que estou errado
I know this is wrong
Mas nem mesmo sei como isso aconteceu
But I don't even know how it happened
Um dia sem querer
One day unintentionally
Olhei em seu olhar
I looked into her eyes
E disfarcei até pra ninguém notar
And disguised it so that no one would notice
Não sei mais o que faço
I don't know what to do anymore
Pra ninguém saber que estou gamado assim
So that no one knows that I'm crazy about her
Se os dois souberem
If they find out
Nem mesmo sei o que eles vão pensar de mim
I don't even know what they will think of me
Eu sei que vou sofrer
I know I'll suffer
Mas tenho que esquecer
But I have to forget
O que é dos outros não se deve ter
We should not have what belongs to others
Vou procurar alguém
I'll look for someone
Que não tenha ninguém
Who is not with anyone
Pois comigo aconteceu
Because it happened with me
Gostar da namorada de um amigo meu
To like my friend's girlfriend
Comigo aconteceu
It happened with me
Gostar da namorada de um amigo meu
To like my friend's girlfriend
Lyrics © Editora e Importadora Musical Fermata do Brasil Ltda.
Written by: Roberto Carlos
Lyrics Licensed & Provided by LyricFind
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lão sicopn
@Harvey Specter eu nunca. acreditem se quiser. é uma questao de educaçao e principios.
desde muito aprendi que temos de respeitar cada um, e como diz a letra:" o que é dos outros "...
no entanto concordo que isso é uma pratica muito comum entre os humanos. com os anos percebi que isso é uma "técnica de caça" daqueles que nunca se garantem. ao contrario da letra e do que as boas condutas no ensinam, esses que falo sabendo das suas reais incapacidades, assumem a tática do ombro amigo..
convivem com os seus amigos, estes tem as suas namoradas e esposas, exceto o incapaz.
fica entao o incapaz como a aranha na teia,sempre á espera que um casal amigo se desentenda, que a mulher fique em estado fragilizado e logicamente mais facil de ganhar a sua confiança e toca a "atacar"..
começa por se aproximar lentamente, perguntas como:" estas triste? passasse alguma coisa? estás na boa cmg .amigos sao para estas coisas". sao normalmente parte da conversa inicial.
a seguir vem os vastos elogios ao seu marido\namorado que por acaso tb é seu grande amigo de longa data. acha até estranho que tenha tido as aitudes que entretanto foi ouvindo como ombro amigo..
confiança ganha, os elogios vao passando pouco a pouco para criticas .. : "gosto muito dele mas..." é preguiçoso, nao valoriza a mulher que tem,bla bla bla..
daí a trair o amigo que confia nele tanto como esse pode confiar em si é um pequeno salto..
se fossem um animal, seriam abutres, pulgas, piolhos, e qualquer outro da fauna que se alimenta da morte alheia ou vive á custa de algum alojjador..
aconselho: tenham cuidado. muito cuidado com aqueles meio insoços..pouco faladores, passam escondidos nas fstas mas falam muito em funerais ou qualquer conflito , falta de auto confiança, postura de quem nao vai nem fica , por aí..
qualquer um desses que se apresentam com postura do tipo: "nao me façam mal..tenham pena de mim .. sou tao vosso amigo.." é um possivel ombro amigo.
nao tenho experiencia propria no assunto posso garantir. mas dado q as minhas companheiras de passado sempre foram bem vistosas,nunca faltaram ombros amigos a tentar a sua sorte..claro que estvam na porta errada :) mas nao faltam casos semelhantes q presenciei.
detesto esses songas.
Felipe Antunes
" Petite Amie De Un De Mes Amis."
( Français. )
" Girlfriend Of A Friend Of Mine."
( English. )
" La Donna Di Un Amico Mio."
( Italianno. )
" De Puella Quoniam Amicus Meus."
( Latim . )
" Fili Tou Énas Filos Mou."
( Grego. )
" Namoradinha De Um Amigo Meu."
( Lusythaine = Português. )
Alvaritus 0-0
Roberto às 23:00 = "Você meu amigo de fé, meu irmão, camarada..."
Roberto à meia noite = "Estou amando loucamente a namoradinha de um amigo meu..."
Marisa Ramacciotte
Engraçado, cresci ouvindo as suas músicas (pois minha mãe o amava), e eu sempre imaginava se vc realmente havia passado estas situações (kkkkk), pois sei q muitas vezes qdo escrevemos algo, tem muito do nosso profundo e experiências vividas 😂, e esta música nos leva a imaginar as cenas e os constrangimentos q vc pode ter passado, se tiver acontecido ! Kkkkk
MAIA🕊️🕊️
BONDIA NOSSO CARA CANTA VERDADEIRAMENTE SO REALIDADE. SITUÇÔES INSPIRA NOSSO POÉTA AMADO🙋 EU GAMO TAMBEM 💏BEIJO OUVINDO FRANCE👄SAUDE FORÇA PRO BRASIL💜✌👋
Frederico Garcia
Marisa, pois aconteceu sim. No livro "Roberto Carlos Outra Vez", o historiador e escritor Paulo Cesar de Araújo conta-nos essa história. O amigo era Denner Pamplona, um famoso estilista de São Paulo e a modelo Maria Stella Splendore, que era sua esposa, com então 17 anos. Maria Stella Splendore é considerada a primeira top model que surgiu no Brasil.
Antonio Anselmo Vieira
Também escrevo aquilo que vivi ou senti no momento
Daniela
Estaba buscando esta canción por un buen tiempo pero no la encontraba porque estaba en portuguez, solo la escuche un par de veces en la radio. Felizmente ya la encontrė :)
Ary de Souza
"um dia sem querer, olhei em seu olhar, e disfarcei até pra ninguém notar." Cara isso já aconteceu comigo.
Harvey Specter
Quem nunca, né? Kkkkkkk
lão sicopn
@Harvey Specter eu nunca. acreditem se quiser. é uma questao de educaçao e principios.
desde muito aprendi que temos de respeitar cada um, e como diz a letra:" o que é dos outros "...
no entanto concordo que isso é uma pratica muito comum entre os humanos. com os anos percebi que isso é uma "técnica de caça" daqueles que nunca se garantem. ao contrario da letra e do que as boas condutas no ensinam, esses que falo sabendo das suas reais incapacidades, assumem a tática do ombro amigo..
convivem com os seus amigos, estes tem as suas namoradas e esposas, exceto o incapaz.
fica entao o incapaz como a aranha na teia,sempre á espera que um casal amigo se desentenda, que a mulher fique em estado fragilizado e logicamente mais facil de ganhar a sua confiança e toca a "atacar"..
começa por se aproximar lentamente, perguntas como:" estas triste? passasse alguma coisa? estás na boa cmg .amigos sao para estas coisas". sao normalmente parte da conversa inicial.
a seguir vem os vastos elogios ao seu marido\namorado que por acaso tb é seu grande amigo de longa data. acha até estranho que tenha tido as aitudes que entretanto foi ouvindo como ombro amigo..
confiança ganha, os elogios vao passando pouco a pouco para criticas .. : "gosto muito dele mas..." é preguiçoso, nao valoriza a mulher que tem,bla bla bla..
daí a trair o amigo que confia nele tanto como esse pode confiar em si é um pequeno salto..
se fossem um animal, seriam abutres, pulgas, piolhos, e qualquer outro da fauna que se alimenta da morte alheia ou vive á custa de algum alojjador..
aconselho: tenham cuidado. muito cuidado com aqueles meio insoços..pouco faladores, passam escondidos nas fstas mas falam muito em funerais ou qualquer conflito , falta de auto confiança, postura de quem nao vai nem fica , por aí..
qualquer um desses que se apresentam com postura do tipo: "nao me façam mal..tenham pena de mim .. sou tao vosso amigo.." é um possivel ombro amigo.
nao tenho experiencia propria no assunto posso garantir. mas dado q as minhas companheiras de passado sempre foram bem vistosas,nunca faltaram ombros amigos a tentar a sua sorte..claro que estvam na porta errada :) mas nao faltam casos semelhantes q presenciei.
detesto esses songas.
Luiz Fernando - Visão Empreendedora Online
Fala não mano, comigo não foi só uma vez.