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.
Viviendo Por Vivir
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Por vivir
Mis valores tan confusos reprimidos
Hoy por ti
Deambulando sin sentido por las calles
Sin saber a donde ir
En mi vida ahora solo significa
Vuelvo para casa donde trato de escapar
De la gente que pretende mis problemas
Aclarar
Pero insisto en mantener sin que lo sepas
Toda tu presencia en mi
Y aun espero que algun dia tu decidas regresar aqui
Añoranzas
Que llenan noches siemre tan vacias
Confunden y son casi una agonia
Y cuando el sueño vence el dia ya nacio
La distancia
Me quita poco a poco la esperanza
Que vuelvas tu conmigo nuevamente
Y miro y plenamente nuestro inmenso amor
Tantos planes sueños hechos en pedazos
Hoy por ti
Que tontera tanto amor desperdiciado
Por los dos
En la soledad me agarro a cualquier cosa
Que me queda de ese amor
Hoy sentido tu presencia nuevamente
Y todo aquel calor
Añoranzas
Que llenan noches siemre tan vacias
Confunden y son casi una agonia
Y cuando el sueño vence el dia ya nacio
La distancia
Me quita poco a poco la esperanza
Que vuelvas tu conmigo nuevamente
Y miro y plenamente nuestro inmenso amor
Añoranzas
La distancia
Añoranzas
The lyrics of Roberto Carlos's Viviendo Por Vivir convey the sorrow and confusion of a person who is living their life without any particular purpose or direction. The lyrics suggest that the person is adrift and lost, and that they are carrying emotional and psychological baggage that they are unwilling or unable to confront. There is a sense of longing and melancholy that pervades the song, and the lyrics reflect the singer's desire for a return to a happier time in the past.
The first verse, "Sin motivo voy viviendo por ahi / Por vivir / Mis valores tan confusos reprimidos / Hoy por ti" (Without reason I am living around / For the sake of living / My values so confused and repressed / Today because of you), suggests that the singer is living a life without any real purpose or meaning. They are simply existing for the sake of existing, and their values are so clouded and repressed that they are unable to find direction or focus. The second verse, "Ya ni siquiera se / Vuelvo para casa donde trato de escapar / De la gente que pretende mis problemas / Aclarar" (I don't even know anymore / I return home where I try to escape / From people who want to clarify / My problems), suggests that the singer is struggling with their problems and feelings, and that they are retreating into themselves in order to avoid confronting those issues.
The chorus, "Añoranzas / Que llenan noches siempre tan vacías / Confunden y son casi una agonía / Y cuando el sueño vence el día ya nació / La distancia / Me quita poco a poco la esperanza / Que vuelvas tú conmigo nuevamente / Y miro y plenamente nuestro inmenso amor" (Longings / That fill always-empty nights / Confuse and are almost agony / And when sleep conquers the day, it already dawned / The distance / Takes away little by little the hope / That you return with me again / And I look and fully our immense love), expresses the singer's feelings of loneliness, confusion, and pain. They are haunted by memories of a lost love, and they are struggling to find hope and meaning in their life.
Line by Line Meaning
Sin motivo voy viviendo por ahi
I am living without any reason, just to exist.
Por vivir
I am alive just to be alive.
Mis valores tan confusos reprimidos
My values are so confusing and suppressed.
Hoy por ti
Today it's all because of you.
Deambulando sin sentido por las calles
I wander aimlessly through the streets without direction.
Sin saber a donde ir
I don't know where to go.
En mi vida ahora solo significa
In my life, now it only means...
Ya ni siquiera se
I don't even know anymore.
Vuelvo para casa donde trato de escapar
I return home where I try to escape.
De la gente que pretende mis problemas
From the people who pretend to solve my problems.
Aclarar
To clarify.
Pero insisto en mantener sin que lo sepas
But I insist on keeping it from you.
Toda tu presencia en mi
All of your presence in me.
Y aun espero que algun dia tu decidas regresar aqui
And I still hope that someday you will decide to come back here.
Añoranzas
Longings.
Que llenan noches siemre tan vacias
That fill empty nights.
Confunden y son casi una agonia
They confuse and are almost an agony.
Y cuando el sueño vence el dia ya nacio
And when sleep overcomes, the day was born.
La distancia
The distance.
Me quita poco a poco la esperanza
It slowly takes away my hope.
Que vuelvas tu conmigo nuevamente
That you come back to me again.
Y miro y plenamente nuestro inmenso amor
And I look and fully see our immense love.
Tantos planes suenos hechos en pedazos
So many plans and dreams shattered.
Que tontera tanto amor desperdiciado
What foolishness, so much wasted love.
Por los dos
For both of us.
En la soledad me agarro a cualquier cosa
In solitude, I cling to anything.
Que me queda de ese amor
That is left of that love.
Hoy sentido tu presencia nuevamente
Today, I sense your presence again.
Y todo aquel calor
And all of that warmth.
Añoranzas
Longings.
La distancia
The distance.
Añoranzas
Longings.
Lyrics © O/B/O APRA AMCOS
Written by: Marcio Greyck, Mccluskey, Cobel, Mary Buddy
Lyrics Licensed & Provided by LyricFind
E A
Esta canción se la dedico a mi hijo, que falleció hace unos meses. Desde que se me fue solo voy viviendo por vivir, recordando todos los planes y sueños que no pudimos cumplir, el vive ahora en mi corazón, pero claro siempre llegan esas añoranzas del tiempo que vivimos juntos y me hizo muy feliz, el dolor mas grande en el universo es el de una madre perder a un hijo, un ángel
Yessica Cartes Medina
😥😥 él vivirá siempre en tú 👉❤
Anuhar Rios
Un abrazo, Dios te bendiga y a el lo tenga en su gloria
Ivanna Romero Camacho
Lo siento muchísimo yo tengo un solo hijo y ahora por está pandemia lo tengo lejos de mi, el solo hecho de pensar que algo le pueda pasar me aterra , dicen que perder un hijo no tiene nombre, lo único que queda es aprender a vivir con el dolor pero superarlo jamás, lamentablemente pase lo que pase la vida continua por el amor de sus otros seres queridos hay que seguir adelante, un beso a la distancia 😘 y abrazo🤗 fraterno, que Dios acompañe siempre a UD y su familia. Bendiciones
CintiaGN
Mi corazón está con vos, él seguro está a tu lado cuidándote, un abrazo E A!!
Maria Elena Ramirez Cardona
Tu comentario me hizo un nudo en la garganta,deseo sinceramente que Dios te siga dando fortaleza para que sigas adelante mientras sigas aqui en este plano cuando hayas terminado tu mision ten la seguridad que volveras a reunirte con el y con tus demas seres queridos,mientras tanto trata de vivir lo mejor que te sea posible ..un abrazo a la distancia
Cristina Perez
Roberto Carlos
... Sus canciones... Motivo de tanta felicidad, tristeza, vivencias... Sencillamente majestuoso....
Mario Borras
Su nivel interpretativo y los arreglos son impresionantes nada parecido
El Gaby
Una de las mejores canciones de Roberto Carlos!
Fernando Silva
una de las mas que me Gusta de el Ken Hermosa boy 2 20