Posted in English, Portuguese

Ready (Mulher Batida)

Another translation post. I’m in a translatey mood, I guess. This one is by Orelha Negra with A Garota Não (again!) on guest vocals. Like yesterday’s, it has a strong feminist theme, but whereas that was just calmly wishing for more representation, this one is about domestic violence so it’s pretty raw: far moreso than I would have guessed from the general vibe of the music. Batida can mean beat in the musical sense as well as “beaten” or “beating” in the violent sense, so I think I had an idea that it was jsut a song about making music until I started trying to translate it line by line.

To be honest, it comes across as pretty bleak, but I don’t think it’s *just * that: there seems to be sense of wanting to move beyond the situation and reassert dignity. For a start, you have the dialogue at the beginning and the end of the song in english, talking about being ready for something. Then there’s the woman who does the live painting in the video (below). She’s called Mázinha and she’s obviously got a positive sense of the song being about forgiveness and redemption (quote here) so she’s painted a really upbeat image, indicative of a new start – presumably after leaving the dude. There isn’t much of that in the song lyrics though, as far as I can see!

E tu tás pronto, honey? / And you – are you ready honey?
Estarás pronto para ver / You’ll be ready to see
Como é que a cor da batida fica na mulher / How the colour of a bruise looks on your woman
Ela não é santa / She isn’t holy
Só um santo para o ser / Only a saint for being it
Como é que esses argumentos servem pra bater / How these arguments lead to beating

Cala esses demónios / Silence those demons
Já te podes perdoar / You could forgive yourself
Não levantes essa mão se não for pra lutar / Don’t raise that hand unless it’s to fight
Por um dia mais claro / For a brighter day
Por um tempo mais doce / For a sweeter time
Não trocava um abraço p’la jóia que fosse / She didn’t exchange an embrace for any jewel

O tamanho da mini saia / The size of a mini skirt
É inverso a essa cobardia / Is the inverse of that cowardice
Se não aguentas a mulher que tens / If you can’t stand the woman you have
É porque te fica em demasia / It’s because she’s too much for you

O tamanho do sorriso dela / The size of her smile
Não precisa de autorização / Doesn’t need permission
A liberdade é um barco à vеla / Freedom is a sailboat
E o amor não é uma prisão / And love is not a prison

Liberta logo esse ciúmе amargo / Just let go of that bitter jealousy
Porque o ciúme deixa o Homem bruto / Because jealousy makes a man brutal
Já nem sequer vês o mundo direito / You don’t even see the world clearly
Mas tu és o teu próprio instituto / But you’re your own boss

Quantos deuses / How many gods
É que o medo cria / Does fear create
Semear a morte / To sow seeds of death
Sangue à terra fria / Blood in the cold ground
Desce mais um corpo / Another body falls
A história é igual / The story is the same
Quando os cintos dançam / When the belts dance
Chora a catedral / The cathedral cries

Quantos deuses / How many gods
É que o medo cria / Does fear create
Semear a morte / To sow seeds of death
Sangue à terra fria / Blood in the cold ground
Desce mais um corpo / Another body falls
A história é igual / The story is the same
Quando os cintos dançam / When the belts dance
Chora a catedral / The cathedral cries

Posted in English

Se Me Agiganto

I’d like to thank Heike Dio who commented under a recent post about the Dulce Pontes / Moonspell collab. She suggested I have a look at the Linda Martini performance on Antena 3 with Ana Moura on guest vocals. It’s good: very stylish and original, so I’m really glad to have it on my YouTube music playlist. I must say, I still prefer the chaos energy of the Dulce Pontes one though. I’ve been watching that at least once a day since I first found it. Here is Heike’s recommendatiin though, and I’ll try and translate the lyrics underneath because that’ll help me understand it.

If I Grow*

Espero que te venha o sono /I hope sleep comes to you
Que te deites cedo, antes de eu chegar /That you go to bed early before I arrive
Que isto de ser dois, longe do plural /Because this thing of being a couple, far from being plural
É tão singular /Is so singular

Paredes de empena / Gabled walls
Já nem vale a pena /It’s not even worth it any more
Resta-nos arder / Now it’s time for us to burn
Que esta chama lenta /Because this slow flame
Já virou tormenta** / Has become a firestorm
E ao entardecer / And as it gets late

Ninguém me diz / Nobody told me
O que há depois de nós / That there was something after us
E se depois de nós / And that after us both
Os dois me Agiganto / I’ll grow.

Eu já fui embora / And i left
Já marquei a hora / And i marked the time
Pra não me atrasar / So as not to be late
Já comprei bilhete / i bought a ticket
Deixei-te um bilhete / i left you a ticket
E a descongelar / And once thawed out
Os restos de ontem / Yesterday’s leftovers
Dão pra o jantar / Will be enough for dinner

Ninguém me diz / Nobody told me
O que há depois de nós / That there was something after us
E se depois de nós / And that after us both
Os dois me Agiganto / I’ll grow.

*=Agigantar literally means become a giant, but with that little reflexive pronoun, it becomes a verbo pronomial meaning “get bigger” so “grow” seems like a better translation.

**=Tormenta looks like it ought to mean “torment”. It actually means “storm” but I translated it as firestorm because a flame becoming a rainstorm doesn’t seem right.

Posted in English, Portuguese

Lisboa Não é Hollywood

Here’s an attempt at translating the song “Lisboa Nao é Hollywood” by Os Azeitonas. It doesn’t seem to haave a translation on lyricstranslate so I thought I’d make one. Seems like quite a simple song but it’s really, really tricky!

Chega Cândida de capeline 
Cândida arrives wearing a capeline*
Como ela respira saúde**
She's glowing with health
Quase que parece a Marilyn
She almost looks like Marilyn
Ao chegar*** a Hollywood
On her arrival in Hollywood
Mas sem tapetes encarnados
But with no red carpets
Sob os seus pés de dama
Under her ladylike feet
Os seus sapatinhos delicados
Her delicate little shoes
Apenas pisam na lama
only step in the mud
Lisboa é paleio de Aljube****
Lisbon is well known to criminals
Por entre ruas, esquinas
Among its streets and corners
Também tem suas colinas, mas
It has its hills too, but
Lisboa não É Hollywood
Lisboa isn't Hollywood
Lá vai Cândida a correr atrás
There goes Cândida, chasing
Seu peito diz sorria
Her spirit***** says smile
Mas nos seus dentes nunca brilha o flash
But the flash of a photograph has never
Da fotografia
Lit up her teeth
Lá vai Cândida a mandar beijinhos
There goes Cândida, blowing kisses
Com o seu jeito rude
In her rude way
Como quem atalha caminho
Like someone taking a shortcut
Para chegar a Hollywood
To arrive in Hollywood
Lisboa é paleio de Aljube****
Lisbon is well known to criminals
Por entre ruas, esquinas
Among its streets and corners
Também tem suas colinas, mas
It has its hills too, but
Lisboa não É Hollywood
Lisboa isn't Hollywood
Como ela cai na trama
How she falls into the trap******
E vai esbanjando******* virtude
And squanders her virtue
Pelo passeio da fama mas
On the walk of fame, but
Lisboa não É Hollywood
Lisboa isn't Hollywood
Olha Cândida na solidão
Look at Cândida, all alone
De capeline, rouge e baton
In her Capeline, rouge and lipstick
Não foi parar ao panteão
She didn't end up in the pantheon
Morreu na vala comum
She died in the gutter
Lisboa é paleio de Aljube****
Lisbon is well-known to criminals
Por entre ruas, esquinas
Among its streets, and corners
Também tem suas colinas, mas
It has its hills too, but
Lisboa não É Hollywood
Lisboa isn't Hollywood

* = It’s a kind of hat apparently. Never heard of it!

**=Respira Saúde = Literally “breathes health” so visibly healthy, confident and in good form, not just “is healthy”. Researching this on the web, there’s some use of it in a more loreal way, meaning “breathing in a healthy way”, eg giving up smoking, but it is used as an expression too.

*** = I wrote about this “Ao + infinitive” construction a couple of months back and I seem to have seen it everywhere since.

**** = This line is a real enigma. The word aljube with a small letter can be a dark prison or a cavern. The fact that it’s written with a capital letter in all the sources I can find seems to imply that it’s a reference to A Cadeia do Aljube, which was the name of a prison (cadeira) that has been in existence since the peninsula was colonised by the muslim imperialists in the 8th century. The name Aljube comes from the arabic for a well. After the reconquista, its use changed but certainly by the twentieth century it was being used for political prisoners of the fascist Estado Novo, and had a pretty terrible reputation. These days, it’s a museum of resistance and liberty. “Paleio” means gossip or small talk, so the sentence “Lisboa é paleio de Aljube” doesn’t make a whole lot of sense. My wife didn’t know what they were driving at. I asked around on reddit and had four different replies, all different. The two closest guesses were along the lines of “a rumour in the prison”, meaning it was something lowlifes and criminals talk about, which is why I’ve translated it as “well known to criminals” but others have suggested “A trick in a cavern”, or even “pillow talk” (because Aljube can also mean alcove, and “de alcova” in Brazilian Portuguese can imply something relating to sex). Meh, its slightly odd that there’s a lyric like this that no two listeners can agree on the meaning, but there are plenty of songs on English that are obscure and ambiguous so I suppose I shouldn’t be that surprised!

***** = Not sure about this one either. “her chest says smile” just sounds weird but one of the lesser meanings of peito is “ânimo” so I’m interpreting it as she’s making an effort of will to smile…? But at least one of the people who replied to my question about paleio said that there was an implication that Cândida is a prostitute so maybe there’s some sort of implication that people are smiling at her cleavage…?

****** = Another iffy one: Trama can be a thread, either literal or in the sense of a unifying plot-line of a book (in fact, I think I used it in a a book review a couple of days ago!) or even a tram line. I wondered if we were supposed to imagine her literally tripping on a tram track but it didn’t seem to fit well with the next line.

******* = fantastic! I only learned this word a week or two ago, doing one of Paulo Freixinho’s old crosswords and here it is again!

By the way, I see Os Azeitonas are candidates for this year’s Eurovision but they’ve come down a long way since they lost their most talented dude, Miguel Araújo, and the song is vanilla AF.

Posted in English, Portuguese

Toy Story – Com Diogo Cabeça-de-Batata

No texto de ontem falei do vídeo do Diogo Bataguas/Batuta/Batman/QualquerCoisa*. Mas não mencionei a maior estrela do vídeo, o Toy. Para ser sincero, nunca antes tinha ouvido falar desse senhor, mas andei à procura de vídeos das músicas dele. Parece que é boa música de festa mas não senti me uma grande pulsão* em comprar os seus álbuns.

Mas percebo o génio de contratar um cantor famoso daquele estilo de música para gravar o tema duma rubrica dum programa televisivo.

*=in the original version of yesterday’s text, I got Diogo Bataguas’s name wrong and called him Diogo Batuta.

**=not really the right word. I’m reading a book that has Sigmund Freud as one of its characters and he uses this word – it means an urge, in the psychological sense. It would have been better to say something like “não me senti compelido a comprar…”

Thanks to Dani for the grammar corrections. She’s also given me some factual corrections which I’ll pass along so as not to give the wrong idea:

The video is a web series, not a TV show. Diogo Bataguas is “um moço singelo” (a simple, innocent lad) who asks for contributions from his fans in order to be able to pay his team – namely, Sandro, who is always hungry

Toy doesn’t just sing party songs as I’ve described here, he also does emotional ballads and TV soap opera theme songs but he’s also known for being an interesting personality. He gave away tickets to his wedding to random fans and he… Invented a style of driving with his knees…? Speaking as a cyclist, this doesn’t exactly endear me to the bloke, to be honest, but apart from that he seems OK. One fellow learner told me (s)he had met him in a seafood restaurant in Azeitão and he had spoken warmly and at great length of his love for Canadian audiences. Telling this story later, (s)he found out that virtually everyone who has ever been to any restaurant in Azeitão has had a similar experience because he is “um senhor bastante gregário”.

He wasn’t hired to do the song, (it’s at about 7:55 in the video I linked to yesterday) Bataguas just mentioned he’d like to get Toy to sing it and fan pressure did the rest.

Some examples of his work:

Party music

Ballad

Knee driving

Posted in English

Proparoxítono

This 👇

Is exactly the sort of thing I love. The writer is Ricardo Araújo Pereira, comedian, columnist and all round good guy (well, as far as I know) Anyway, in the passage above, he’s describing a song by Chico Buarque and saying that if a foreigner were to hear it, although they would rightly spot that it sounds lovely, they probably wouldn’t understand it and certainly wouldn’t notice that the last word of every line is “proparoxítona”* and nor would they understand that the word “proparoxítono” itself is proparoxítona**. And he’s right: it is a lovely song and when I read this in bed last night I had no clue what Proparoxítono meant but I knew I had to find out as soon as I woke up.

First of all, let’s hear the song

Oh my god, that is the good stuff alright. I know it’s Brazilian Portuguese, not Portuguese Portuguese but Jesus Christ it’s good. Inject it directly into my veins! There is something slightly strange about the rhythm of the verse though isn’t there? And I never would have spotted what it was.

Before I get I to it, let’s lay a bit of groundwork by thinking about where the stress falls in a Portuguese word.

The vast majority of words in Portuguese put the stress on either the final syllable (if the last letter is r, l, z, u or i ) or the penultimate one (basically, all other letters). Any exceptions to the rule need an accent to be added as a hint to the reader. So for example there are a lot of words that end in – ável or – ível that are pronounced with the stress on the a and the i respectively. If the accent wasn’t there you’d have to say incrivEL and confortavEL. But it’s pretty easy and you get used to it, and before you know it, you’re just used to the rhythm of Portuguese speech without even being conscious of it.

Proparoxítono means that the stress falls on the antepenultimate (last-but-two) syllable. These always have to have an accent because they break the normal rules, like bêbado (BÊ-ba-do) and mágico (MÁ-gi-co) and sábado (SÁ-ba-do) and última and único and tímido and… Well, and every other word he finishes a line with in the song, which is why you get this effect that’s really unusual in a Portuguese song, where the last two syllables of every line are unstressed.

Oh my god, that’s so satisfying. I love it! It’s the most value I’ve ever got out of a single paragraph, I think: a new word, a new song and a new way of noticing the rhythm of Portuguese music.

Anyway, if you want to know more, this video has some good analysis. It’s in Brazilian Portuguese too, so be warned if you’re trying to avoid the dialect. It’s worth making an exception for though.

*it has an a in the end here, unlike in the title, because its an adjective and palavra is feminine

**Now I know what you’re thinking: “Isn’t that the stuff Bret Weinstein and Heather Heying think should be used to cure Covid?” Close, but no, it’s not that either.

Posted in Portuguese

Luís de Freitas Branco

Luís de Freitas Branco foi um compositor português que nasceu em 1890 e tornou-se uma das figuras mais importantes na cultura portuguesa do século passado. Começou por estudar música antiga em Berlim mas depois conheceu Claude Debussy e foi exposto ao estilo mais moderno, chamado impressionismo. Em 1916 assumiu um cargo de professor no Conservatório de Lisboa. Estou a ouvi uma sinfonia dele, ou seja estava antes de ficar aborrecido, então virei para uma banda irlandesa dos anos oitenta. Eu sei, sou um filisteu. O facto mais interessante sobre Dom Luís é o seguinte: em 1951, foi demitido da emissora nacional porque usou uma gravata a seguir ao Óscar Carmona, o décimo-primeiro presidente da república faleceu. Pergunto-me o que os funcionários do Estado Novo pensariam das roupas de hoje em dia.

Posted in English

Música em Casa

I’ve really been enjoying the videos Rita Marrafa de Carvalho has been publishing from her house where she’s quarantined with her kids and a ukelele. They seem to be having a lot of fun and she can really sing/play too, which helps. I’ll try to embed one of them here but it’s on Facebook and Facebook is a bit awkward so I don’t know if it’ll work. They’re all really nice though, so you could do worse than go and look at her complete set on that platform if you have an account. A lot of them are on her Twitter too but I’m taking a Twitter break at the moment.