History
* Formation and first works
The majority of the integrants of the band met each other at Colégio Equipe in São Paulo at the end of the seventies and, since their first live venue, at the school itself in 1981, the band began to play at several night clubs in the city. The first formation was: Arnaldo Antunes (vocals), Branco Mello (vocals), Marcello Fromer (guitar), Nando Reis (bass guitar), Paulo Miklos (sax and vocals), Sérgio Britto (keyboards and vocals), Tony Bellotto (guitar), Ciro Pessoa (vocals) and André Jung (drums). It was a pop/new wave-styled band, with small creativity and rather odd looks, with tender and little ball neckties. In 1984, without Ciro Pessoa, the band was signed by WEA to record their first album, produced by Pena Schimdt. Although not well sold and promoted, the band spawned at that time their first hit: "Sonífera Ilha"(Sleepy Island).
In 1985, with Charles Gavin replaced André Jung on drums (the latter going on to Ira!), their second album, Televisão (Television), producted by Lulu Santos, was released with slightly better arrangements than in their previous recording. This album had a greater advertising than the first one and brought in more opportunities to the group.
* Up to the Spotlights
In November 1985, Tony Bellotto and Arnaldo Antunes were arrested by heroin traffic and transportation. The episode made a huge impact on the band. The next album, Cabeça Dinossauro, released in June 1986, brought in a lot of tracks criticizing the public institutions ("Estado Violência" (Violence State) and "Polícia" (Police), as well as other "pillars" of Brazilian society such as"Igreja" (Church) and "Família" (Family). The heavy and punk-influenced rhythms and the strong lyrics, caracteristic of the band in this phase, are fully represented in this album which is considered by the critics as one of the best works of the group and one of the landmarks of the Brazilian rock.
Jesus Não Tem Dentes no País dos Banguelas (Jesus doesn't have teeth in the country of the toothless), released at the end of 1987, built on the previous album in tracks like "Nome aos Bois"(Name to the Oxes),"Lugar Nenhum"(Nowhere) and "Desordem"(Disorder), however adding samplers in tracks like "Corações e Mentes"(Hearts and Minds), "Comida"(Food) and "Diversão"(Fun). After some international presentations,the band recorded some of their hits in live venues and released Go Back in 1988.
The producer Liminha was always an important associate of the band since Cabeça Dinossauro, and this association arrived to it's climax in Õ Blésq Blom (untraslatable), one of the most popular productions of the band by that time. Some of the most popular tracks are: "Miséria" (Misery), "Flores" (Flowers),"O Pulso" (The Pulse)and "32 Dentes" (32 Teeth). One of the prominent features of this work was the special guest appearance of a couple of improvisors, called Mauro and Quitéria, discovered by the band in a beach in Recife.
* The First Changes
The band had arrived to a decisive point in it's history and the next album, Tudo ao Mesmo Tempo Agora(Everything at the Same Time Now) mark a strong yaw at the musicians' style, searching for heavier and authorial sound. The members themselves produced the album and the work was possibly the final reason for Arnaldo Antunes to leave for a solo career. The following album, Titanomaquia (Titanomachy), in 1993, continued the previous work in a way, with heavy instrumentation and disgusting lyrics, only now produced by Jack Endino, producer of important bands like Nirvana.
At 1995, Titãs released Domingo (Sunday), a more pop-rock outfit, unless for the track "Eu Não Aguento" (I Can't Take It), a more rap-rock oriented featuring the work of Sérgio Boneka. It was the first time that Titãs recorded a song recorded by another artist or group.
* The Return
Titãs had experienced some loss of their fanbase because the critics took their records as "less good" than the previous works from 80s. This changed in 1997 when they released Titãs - Acústico MTV (Unplugged MTV), an acoustic show recorded for MTV. With guests like Fito Paez, Marisa Monte and Arnaldo Antunes, the album sold pretty good and the band returned to the popularity of previous times.
In the following year, Volume Dois (Volume Two) was released, like a "next chapter" of the Acústico MTV. They recorded some of its previous hits, like "Insensível" (Insensitive) and also a song of Roberto Carlos, "É Preciso Saber Viver" (It's Needed to Know how to Live).
As Dez Mais (The Ten Most) was released in 1999. It was a cover record with some famous songs of other Brazilian artists. It featured a cover of "Pelados em Santos" (Naked in Santos), the most famous song of late group Mamonas Assassinas, which in the video made fun of commercials. The two records didn't repeat the hit that was Acústico MTV.
* These Days
The band returned to a full new material record with A Melhor Banda de Todos os Tempos da Última Semana (The Best Band of All-Time of Last Week), in 2001. The title of the record and epynomous song made critical fun of the Brazilian music market.
Prior to the release, Marcelo Fromer died after being hit by a motorcycle while running in the streets of São Paulo. After some days in comma, Fromer deceased. They made a song talking about it, "Epitáfio" (Epitaph). It was the major hit of the record, winning two MTV Video Music Brasil awards. Soon after that, Nando Reis left the band to pursue a sucessful solo career.
Como Estão Vocês? (How do You Are?) was released at 2003, and continued with the line of A Melhor Banda... "Enquanto Houver Sol" (As Long the Sun Exists) was a big hit, with a positive lyric and a somehow dark video.
MTV Ao Vivo, released in 2005, it's a recording of one concert to a live MTV special, available in CD and DVD. "Vossa Excelência" (Your Honor) was recorded, with lyrics who taked about the political situation of Brazil.
In their recent works (Sacos Plásticos, 2009 and Nheengatu, 2014), they've returned to a heavier sound, simillar to Cabeça Dinossauro.
* Discography
* Nheengatu (2014)
* Sacos Plásticos (2009)
* Titãs - MTV Ao Vivo (Live) (2005)
* Como estão vocês? (2003)
* A Melhor Banda de Todos os Tempos Da Última Semana (2001)
* As Dez Mais (1999)
* Volume Dois (1998)
* Titãs - Acústico MTV (MTV Unplugged) (1997)
* Domingo (1995)
* Titanomaquia (1993)
* Tudo Ao Mesmo Tempo Agora (1991)
* O Blésq Blom (1989)
* Go Back (Live) (1988)
* Jesus Não Tem Dentes No País Dos Banguelas (1987)
* Cabeça Dinossauro (1986)
* Televisão (1985)
* Titãs (1984)
Source: Wikipedia
Daqui Pra Lá
Titãs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Era um pacato cidadão, sem documento
Não tinha nome, profissão, não teve tempo
Mas certo dia deu-se um caso e ele embarcou num disco
E foi levado pra bem longe do asterisco em que vivemos
Ele partiu e não voltou e não voltou porque não quis
E um espaçograma ele enviou, Pra quem quisesse compreender
Mas ninguém nunca decifrou o que ele nos mandou dizer
O futuro é hoje, cabe na mão
Era um pacato cidadão, sem documento
Não tinha nome, profissão, não teve tempo
VietVistaVisão
Para azar de quem não sabe e não crê
Que sempre pode a sorte escolher
E enterrar qualquer estrela no chão
VietVistaVisão
Terramarear Atenção
Fica a morte por medida
Fica a vida por prisão
In "Daqui pra Lá," Titãs contemplates the concept of the future and outer space travel. The song begins by describing a man who doesn't have a name, profession, or even documents. One day, he boards a spaceship and leaves our planet to live somewhere else, where he's happier. The man sends a message to those he left behind in the form of an "espaçograma," but nobody can decipher what it means. The chorus suggests that the future is now, and it's tangible in the present moment, seemingly advocating for living in the now.
The verses describe the man who left as someone who wanted to escape his life, and in some ways, he did. However, his "new" life is also mysterious and misunderstood. Despite his attempts to communicate, nobody seems to understand him. The chorus brings us back to the theme of the present moment being powerful, that the future is now. It's possible that the song is meant to encourage listeners to embrace the present moment and not focus too much on the unknowns of the future.
Line by Line Meaning
O futuro é hoje, cabe na mão
The future is in our hands, it's happening now.
Era um pacato cidadão, sem documento
He was an ordinary citizen, without any identification or record.
Não tinha nome, profissão, não teve tempo
He didn't have a name or profession, he didn't have time.
Mas certo dia deu-se um caso e ele embarcou num disco
One day something happened and he got on a spaceship.
E foi levado pra bem longe do asterisco em que vivemos
He was taken far away from this asterisk we call home.
Ele partiu e não voltou e não voltou porque não quis
He left and never returned, not because he couldn't, but because he didn't want to.
Quero dizer ficou por lá, já que por la se é mais feliz
I mean, he stayed there because he's happier there.
E um espaçograma ele enviou, Pra quem quisesse compreender
He sent a message for anyone who wanted to understand it, a space message.
Mas ninguém nunca decifrou o que ele nos mandou dizer
But no one ever decoded what he was trying to say.
VietVistaVisão
Traveling vision
Para azar de quem não sabe e não crê
Unfortunately for those who don't know or believe,
Que sempre pode a sorte escolher
Luck can always be chosen.
E enterrar qualquer estrela no chão
And bury any star in the ground.
Terramarear Atenção
Attention to the terra-mare.
Fica a morte por medida
Death is just a matter of time.
Fica a vida por prisão
While life can feel like a prison.
Lyrics © Warner Chappell Music, Inc.
Written by: Sergio Affonso
Lyrics Licensed & Provided by LyricFind