What makes you beautiful lyrics vagalume

What most called his attention, however, was the music played there - which in his words, "would resurrect a dead man. Kosmos, fev. Writing at a moment when a large part of Cariocas columnists did not tire of criticizing the "immutable melopoeia of tambourines" 40 40 Vagalume, "Ecos noturnos".

A Tribuna, 21 mar. Shown here is the meaning of his writings: approximating readers to practices and customs which they could find strange, due to the equivalence and the integration between them and the cultural forms they sought to valorize. Vagalume made his column a channel of expression in a positive perspective of forms of culture, dance, and music, which began to gestate in the confluence between the sophistication and harmony of the elegant dances of the large clubs and the traditional musical forms of black and mixed workers who frequented the small salons.

He thus began to valorize the morality and order of their dances, contrasted in one of this columns with the frequent riots that occurred in the maxixes opened by two entrepreneurs. At a moment in which the republican regime was still trying to exert itself, a process of cultural communication between parts of society with divergent interests and logics was promoted, in a posture which helped to singularize it in the panorama of lettered production of the period. It was the strength of this singularity, guaranteed by the close relationship that he came to have in his column in A Tribuna with this universe of suburban associations, which guaranteed for him for almost two months of daily columns, his success as a columnist.

However, after a few years the difficulties in maintaining these small papers led him back to the newspaper where he had started in journalism. On 22 January , there appeared in the classified ads to Jornal do Brasil the announcement of the sale of O Vagalume.

Due to his knowledge of the world of the suburbs, he was rehired a little more than four months afterwards by Jornal do Brasil to direct its first suburban agency, opened in Engenho de Dentro. With a "popular program," the aim of the agency was, according to a report in Revista da Semana , not just to look for advertising and to collect news in a region often neglected by the large papers, but also to defend its interests - both denouncing the "violence practiced by the authorities in the distant suburb" and to defend "improvements" needed in the suburban area.

As a consequence, Vagalume became the legitimate representative of the interests of lower income workers in the suburbs. It was no surprise that he was responsible for writing the sections dedicated to Carnival and the dance clubs scattered around the city. Published daily in Jornal do Brasil between and , his columns systematically brought to the mainstream press, in a manner that was still not very usual, the daily activities of the small clubs and associations from the suburbs and poor neighborhoods.

He always opened space for the festivities and parade of groups mostly consisting of black and mixed workers. In addition to announcing their festivities and meetings, he gave space to the carnavalescos from these groups to publish the lyrics of the songs which they would bring to the streets in Carnival - which included verses such as this, transcribed from one of his columns in Jornal do Brasil, 2 jan.

With allusions that only make sense to those who closely knew the social universe portrayed, verses like these highlighted the conquest of their own space within the mainstream media by those men and women who were part of these small associations.

Not limiting himself to reproducing the notes and news he received from these clubs, Vagalume also encouraged and publicized as much as he could their activities - appearing at dances, reporting on their preparations for carnival or announcing all the events linked to it.

In he also held the first rancho competition, in order to evaluate, in relation to various items, the beauty of the parades held on the Momo days by these small societies.

Jornal do Brasil, 12 fev. In addition to giving space to a black musicality which was still not fully accepted by the top of Carioca society, Vagalume showed with this a posture of a sympathetic opening and identification with that universe of practices and experiences he had legitimized and valorized, making himself into an ally of these subjects whose practices and production he had helped to publicize.

Due to this posture, which won him in the following decades the title "Dean of [Carioca] Carnavalesco columnists," 45 45 "Morreu Vagalume, o decano dos cronistas carnavalescos". A Noite, 10 jan. Jornal do Brasil, 7 jan. Although columnists like him could be used to receiving tributes from carnavalesco clubs and their members, these acts showed that the reception given to Vagalume was very particular, as he was recognized in the clubs themselves as a legitimate representative of their interests.

By privileging the activities of these small dance clubs, gradually leaving aside the other forms of journalist action he had done when he first started as a journalist - such as police reports and suburban columns -, Vagalume progressively dived into a singular universe: that of the musicality which emerged out of the modest bars in which he was frequently present. The result is that in his columns Vagalume showed a process of the continuous reworking of musical traditions and beats of an African origin from which the rhythm which years later would come to be consecrated as samba took shape, whose profile he himself helped to shape in his book.

Symptomatic of this is a note published in his column in Jornal do Brasil in It was about a declaration made to him by Donga, one of the composers to whom the invention of samba in Rio de Janeiro was generally attributed. Donga corrected information published previously by the columnist about the influence of Mauro de Almeida, who had been his partner in the production of the song " Pelo telefone ":.

He wrote the verses because he wanted to and it is even a really heavy weight, it takes a lot of work to put the music into my head. It is an injustice to 'Pechinguinha'. With a detailed description of the characters of the cultural universe permeated by samba, his reports became a means of contact and communication between distinct cultural universes which increasingly intersected in the mesh of the metropole.

In addition to news and reports about black recreational practices included in his columns, they were also reworked in another type of production which help stimulate Vagalume's popularity: theater plays, which showed the same type of approximation with the interest of the public which marked his columns. This is what can be noted in , when what was apparently his first theatrical composition was presented: A Filha do Campo , written in partnership with the well-known black clown Benjamim de Oliveira.

It was, according to the advertisement published at the time, a "dramatic farce in three acts The fact that it was presented in Circo Spinelli, and not in one of the many theaters in the city, indicated that it was aimed at a socially specific public, probably more familiarized with the circus ring than with the dramatic stages More revealing than where it was staged, was how long it remained open: the play ran in this circus until the end of As well as encountering success with his columns, he also made a name for himself as a playwright, an activity he would continue to exercise in an occasional manner over the following decades.

The simple incorporation of these clubs in the theatrical scene did not represent any novelty. Its theme was centered on a fictitious dance club frequented by workers from a Carioca middle class community, whose forms of talking and enjoying themselves were satirized in the play. Although its authors managed in this way to give form to the "identity symbols and images for a population who did not recognize themselves in the identity projects prevalent among the elites" Lopes, LOPES, Nei.

It was thus an attempt to configure a space of effective expression for this black recreation world, in order to highlight its strength, which presented the novelty of Vagalume's plays. This difference was expressed in the image of these clubs represented in his plays.

He brought to the fore many existing recreational societies, putting their members on stage with their songs and dances - something especially strong at a moment when black characters were still represented by white actors with blackface Gomes, GOMES, Tiago de Melo. With this he presented with to a wider audience the strength of cultural productions which were no longer restricted to the space of the exotic, configuring it as the result of an original process of preparation whose strength was hailed in his theatrical compositions.

Vagalume thus promoted an operation with a double meaning: while on the one hand he tried to attract and gain the sympathy of those who frequented these clubs for his plays, in order to guarantee their success, while on the other he helped to define for them a positive profile recognizable beyond the social circuits they frequented.

Not by chance, Rio de Janeiro had in the play as one of its greatest symbols, one the rhythms forged in these small bars: samba. Valorized as an element capable of singularizing Rio de Janeiro in the middle of the empire of folia , samba was affirmed as a positive product of Carioca cultural life.

To distance it from the danger often associated with the circles which produced it, the lyrics of the song highlighted that it was only in the feet that he caused ' turumbamba ' - a synonym of disorder and confusion in Carioca slang.

However, not even for this did it stop being directly linked in the play to the social universe of the small clubs formed by black workers. By helping to define a positive image of types of music such as samba, Vagalume became a central piece in a growing circuit of cultural communication through which the recreational practices of black workers came to have a greater role in the mainstream media.

Although he was no longer alone in this process of the valorization of the rhythm, now being praised by columnists with very diversified social profiles, the singularity of his position, matured since his columns, was expressed in the active role attributed in this process to subjects who were part of these small dance clubs - who were responsible in his conception for the invention of those rhythms which reworked the ancestral musical traditions of Afro-Descendent workers in order to give them a palatable form for other social groups.

Far from diluting the strength and singularity of black cultures, the transformation of samba into a musical style capable of representing the city and the country itself thereby represented, in the eyes of Vagalume, a positive affirmation of its vitality.

Without restricting the universe of the music, this was a position matured in other dimensions of his reflection on the social inclusion of blacks. This was what was noted in , when Robert Abbot, editor of the largest circulating black newspaper in the United States, gave a talk in Rio de Janeiro about racial segregation and its problems, at the invitation of the Center of the Federation of Men of Color.

Robert Abott". Abbot showed interest in Brazil, seeing in the country a racial reality different from the scenario of exclusion and prejudice which marked US society. Uneven encounters: making race and nation in Brazil and the United States. This was what was reaffirmed in the congress held in Rio de Janeiro, whose title pointed to the valorization of something seen from the foreign eye of Abbot as a Brazilian peculiarity: "The true democracy is Brazilian, because it rests on humanitarian principles, established by human equality.

O Paiz, 13 mar. The ambience of integration and intermixing seen in Brazil, defined by one of the journalists who covered the event as an example of "ethnic democracy" was thus the counterpoint to the US example of the radical separation between the races -which "kept the two racial portions side by side and irreconcilable. ABC, 17 mar.

Actually by valorizing the processes of exchange and sharing among races, Abbot pointed to a path similar to what had been tried previously by Vagalume: the valorization of integration based on intermixing and contacts, which would be a legitimate means of the social affirmation of the strength of black cultures. Although his insistence on valorizing a black culture often attacked by his colleagues in the press showed that he was distant from any conception of 'ethnic democracy,' it was through a similar logic that he would help to affirm in his writings the value of cultural practices which were then hailed by others as an authentic foundation of national culture.

It was thereby clear that it was not in an unthinking manner that he incorporated in his columns subjects linked to the experience of black and mixed workers of his time. Actually several of the principal musicians who started to have their names associated with the formation of samba in the middle of the s had received their musical initiations in the bars of these small clubs.

Pixinguinha: vida e obra. Seen by musicians and the members of the many dance clubs scattered across the city as a legitimate defender of their interests, in the s he would reap the fruits of his long history in defense of the cultural practices of the world of black Carioca workers - which transformed him into a singular columnist in the middle of the lettered Carioca world.

At a moment in which men of letters in the federal capital were enchanted by a radical cosmopolitism based on a European model, which sought in the large European capitals the cultural model to be pursued in Rio de Janeiro Sevcenko, SEVCENKO, Nicolau.

However, this valorization occurred in a specific perspective. Far from taking these practices and customs as elements of affirmation of an exclusive ethnic identity, with an essentialist nature, he made the strength of dances and songs, which he did not tire of propagandizing, a means of affirming the legitimacy and vitality of African cultural heritage adapted and integrated in the new times.

Fruit of a long history of cultural connections and clashes which had one of its principal agents and witnesses in Vagalume, the book was concerned with valorizing the agency of blacks in the configuration of that musical style capable of representing nationality.

Vagalume's writing permits us to understand how, from the point of view of the black and mixed men and women like him, the process of the affirmation of this new image of connected nationality occurred from the s onwards - which had as one of its supports the syncopated musicality gestated in the small bars, whose echoes we can still try to hear beyond the filters of modernist memory.

Abrir menu Brasil. Abrir menu. Rio de Janeiro, RJ, Brasil. Who is our leader, he is tough. Quando sai a macacada. Sai na frente da negrada. Is in front of the blacks. Nos faz turumbamba. Made us turumbamba.

On the tips of our toes]. We don't fit in well 'cause we are just ourselves I could use some help gettin' out of this conversation, yeah You look stunning, dear, so don't ask that question here This is my only fear, that we've become. Beautiful people Drop top, designer clothes Front row at fashion shows What d'you do and who d'you know Inside the world of beautiful people?

Champagne and rolled-up notes Prenups and broken homes Surrounded, but still alone Let's leave the party.

That's not who we are we are, we are, we are We are not beautiful Yeah, that's not who we are we are, we are, we are We are not beautiful beautiful. We don't fit in well, we are just ourselves I could use some help gettin' out of this conversation, yeah You look stunning, dear, so don't ask that question here This is my only fear, that we've become.

Khalid Letra Traduzida. Compartilhar no Facebook Compartilhar no Twitter. Beautiful People feat. Khalid Ed Sheeran. Khalid [Ed Sheeran] We are, we are, we are LA on a Saturday night in the summer Sundown and they all come out Lamborghinis and their rented Hummers The party's on, so they're headin' downtown 'Round here everybody's lookin' for a come up And they wanna know what you're about Me in the middle with the one I love and We're just tryna figure everything out We don't fit in well 'cause we are just ourselves I could use some help gettin' out of this conversation, yeah You look stunning, dear, so don't ask that question here This is my only fear, that we've become Beautiful people Drop top, designer clothes Front row at fashion shows What d'you do and who d'you know Inside the world of beautiful people?

Champagne and rolled-up notes Prenups and broken homes Surrounded, but still alone Let's leave the party That's not who we are we are, we are, we are We are not beautiful Yeah, that's not who we are we are, we are, we are We are not beautiful beautiful [Khalid] LA, mmm Drove for hours last night and we made it nowhere nowhere, nowhere I see stars in your eyes when we're halfway there all night I'm not fazed by all them lights and flashin' cameras 'Cause with my arms around you, there's no need to care We don't fit in well, we are just ourselves I could use some help gettin' out of this conversation, yeah You look stunning, dear, so don't ask that question here This is my only fear, that we've become [Ed Sheeran] Beautiful people Drop top, designer clothes Front row at fashion shows What d'you do and who d'you know Inside the world of beautiful people?

Pessoas Bonitas part. Nos avise. Enviada por Bardigang e traduzida por Madelene. Legendado por Madelene. Viu algum erro? Recomendar Twitter.