Titãs are one of the most successful rock bands in Brazil, along with Legiã… Read Full Bio ↴Titãs are one of the most successful rock bands in Brazil, along with Legião Urbana, Os Paralamas do Sucesso and Barão Vermelho. The best known formation of the band was the one from the album "Cabeça Dinossauro" (Dinosaurhead): Nando Reis, Branco Mello, Marcelo Fromer, Arnaldo Antunes, Tony Bellotto, Paulo Miklos, Charles Gavin and Sérgio Britto. Out of these, only Mello, Bellotto, and Britto remain to this day.
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
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
Domingo
Titãs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Não sei o que fazer
Não sei o que fazer
Eu saio por aí
Sem ter aonde ir
Não é sete de setembro
Nem dia de finados
Não é Sexta-feira santa
Nem um outro feriado
E antes que eu esqueça aonde estou
Antes que eu esqueça aonde estou
Aonde estou com a cabeça?
Tudo está fechado
Tudo está fechado
Domingo é sempre assim
E quem não está acostumado?
É dia de descanso
Nem precisava tanto
É dia de descanso
Programa Silvio Santos
E antes que eu confunda o Domingo
Antes que eu confunda o Domingo
O Domingo com a Segunda
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Tudo está fechado
Tudo está fechado
Domingo é sempre assim
E quem não está acostumado
É dia de descanso
Nem precisava tanto
É dia de descanso
Programa Silvio santos
Domingo eu quero ver o Domingo passar
Domingo eu quero ver o Domingo passar
Domingo eu quero ver o Domingo passar
Até o próximo, até o próximo, até o próximoDomingo
E antes que eu confunda o Domingo
Antes que eu confunda o Domingo
O Domingo com a Segunda
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Até o próximo
Até o próximo
Até o próximo Domingo
Até o próximo
Até o próximo
Até o próximo Domingo
Não sei o que fazer
Eu saio por aí
Sem ter aonde ir
Não é sete de setembro
Nem dia de finados
Não é Sexta-feira santa
Nem um outro feriado
E antes que eu esqueça aonde estou
Antes que eu esqueça aonde estou
Aonde estou com a cabeça?
Tudo está fechado
Tudo está fechado
Domingo é sempre assim
E quem não está acostumado?
É dia de descanso
Nem precisava tanto
É dia de descanso
Programa Silvio Santos
E antes que eu confunda o Domingo
Antes que eu confunda o Domingo
O Domingo com a Segunda
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Tudo está fechado
Tudo está fechado
Domingo é sempre assim
E quem não está acostumado
É dia de descanso
Nem precisava tanto
É dia de descanso
Programa Silvio santos
Domingo eu quero ver o Domingo passar
Domingo eu quero ver o Domingo passar
Domingo eu quero ver o Domingo passar
Até o próximo, até o próximo, até o próximoDomingo
E antes que eu confunda o Domingo
Antes que eu confunda o Domingo
O Domingo com a Segunda
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Domingo eu quero ver
O Domingo passar
Domingo eu quero ver
O Domingo acabar
Até o próximo
Até o próximo
Até o próximo Domingo
Até o próximo
Até o próximo
Até o próximo Domingo
The lyrics to "Domingo" by various Brazilian artists express the feeling of boredom and aimlessness that can come with Sundays. The singer doesn't know what to do, so they just wander around with nowhere to go. The song mentions that it's not a special holiday or occasion, just a regular Sunday. The lyrics also question the singer's own mental state, wondering where their head is at. They comment that everything is closed on Sundays and it's a day of rest, but sometimes it can be too much rest, leading to a feeling of being stuck or trapped. The chorus repeats the desire to just see Sunday pass and be done with it until the next one comes along.
One interpretation of the song could be that it's a critique of society's emphasis on productivity and busyness. Sundays are meant to be a day of rest, yet the pressure to always be doing something can lead to a feeling of restlessness and dissatisfaction. The singer is trying to find purpose or meaning in a day that's meant to be for relaxation, and is struggling to cope with the lack of structure.
Line by Line Meaning
Não sei o que fazer
I am uncertain of what to do.
Eu saio por aí / Sem ter aonde ir
I wander aimlessly without a destination.
Não é sete de setembro / Nem dia de finados / Não é Sexta-feira santa / Nem um outro feriado
It is not a national holiday or a significant date.
Antes que eu esqueça aonde estou / Aonde estou com a cabeça?
I am questioning my current state of mind.
Tudo está fechado
All establishments are closed.
Domingo é sempre assim / E quem não está acostumado?
Sunday is always like this, who isn't used to it?
É dia de descanso / Nem precisava tanto / É dia de descanso / Programa Silvio Santos
It is a day of rest, there is no need for much excitement or activities, just watching TV is enough.
Antes que eu confunda o Domingo / O Domingo com a Segunda
I want to avoid confusion between Sunday and Monday.
Domingo eu quero ver / o Domingo passar / Domingo eu quero ver / o Domingo acabar
I just want Sunday to end and pass by quickly.
Até o próximo, até o próximo, até o próximoDomingo
Until the next Sunday comes around again.
Lyrics © Warner Chappell Music, Inc.
Written by: Antonio Bellotto, Antonio Carlos Liberalli Bellotto, Sergio Affonso, Sergio De Britto Alvares Affonso
Lyrics Licensed & Provided by LyricFind
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@robson_1277
Ouvindo no domingo 24/03/2024. Titãs SEMPRE!!!
@pablodiaz422
Gracias Titãs!! Me sacudí y lloré de emoción!! Mi banda de la juventud en Montevideo!!! El 18 nos vemos de vuelta. Gracias por música
@oestranhomundodeemily1445
Meu nome é Emily e tenho 7anos amo a sua música domingo eu quero ver o domingo passa
@arlequinasincera7982
Muito obrigada por existir os titãs. A geração de meus pais foi ótima. Pena que euzinha não vivi nessa época.
@raphaelpaskauskas6650
Agradeça por viver na época em que voce tem o mais fácil acesso a qualquer canção ou álbum que quiser desde a criação da música.
Viver na época dos seus pais deve ter sido legal, mas o que seria de nós sem poder simplesmente clicar uma ou duas vezes no nosso PC ou celular e ja ter a musica tocando?
Saiba compreender as vantagens da sua geração, e que, assim como os Titãs fizeram ontem, muitas bandas boas fazem hoje, basta procurar.
Um abraço, Harley Quinn
@pauloademir5320
Até o próximo domingo...
@GuilhermeGCosta
Eu vivi isso. Era muito bom. Mas hoje são todos bundões que apoiam políticos corruptos.
@dawilliamdouglassilva4339
Música de "domingo" q pode ser ouvida em qualquer dia da semana!!!🎶🤘🏼
@elizsouza422
Na década de 1970,fechava o comércio aos Domingos em São Paulo no Natal e Ano novo, até às padarias.
@lucaslaia9705
Resumindo o domingo da maioria das pessoas, apesar que esse domingo que ele canta me lembra mais os domingos da minha infância.