![]() ![]() GOMEZ SARMIENTO: As a pop star, she broke boundaries in the way she explored sex, politics and religion. RITA LEE: (Singing in non-English language). She said she was, quote, "in search of Brazil, Brazil, Brazil." GOMEZ SARMIENTO: Lee left the band in 1972 for a solo career. MONTANA RAY: She was really central to that movement and was hounded by the apparatus of the state police. Lee told The New York Times in 2001 that artists had to, quote, "be creative, but evasive, to avoid the repression." Montana Ray, a Spanish and Portuguese translator who teaches at NYU, says Lee refused to conform at a time when the regime demanded it. It was a countercultural scene that flourished during Brazil's military dictatorship. GOMEZ SARMIENTO: Combining rock, psychedelia and pan-Latin rhythms, the tripped-out trio formed part of the Tropicalia movement. (SOUNDBITE OF SONG, "PANIS ET CIRCENSES") She played the piano from an early age and co-founded Os Mutantes as a teenager in the 1960s. But Lee became known for progressive politics as much as for music. Her father descended from American confederates who fled the South after the Civil War. GOMEZ SARMIENTO: Rita Lee Jones de Carvalho was born in Sao Paulo. OS MUTANTES: (Singing in non-English language). ISABELLA GOMEZ SARMIENTO, BYLINE: Rita Lee once told a Brazilian newspaper that her band, Os Mutantes, quote, "came from another planet to take over the world." That's kind of what it sounded like. NPR's Isabella Gomez Sarmiento has this appreciation. ![]() It exposes the industry's focus on trends, appearance, and profit, rather than artistic integrity and creativity.Brazil's queen of rock, Rita Lee, passed away this week. Overall, "Arrombou A Festa Número 2" is a witty and satirical song that critiques the commercialization and superficiality of Brazilian popular music during the disco era. Lastly, the line "Corre que lá vem os home!" is a humorous phrase in Brazilian Portuguese that roughly translates to "Run, here come the police!" It serves as a comical ending, implying that the song's critique might face backlash from those it implicates. The bridge includes random expressions of love and references to popular songs and artists, such as "Sandra Rosa Madalena" and "Lady Laura." These are thrown in sarcastically, showing the singer's cynical perspective on the popular music scene. ![]() The mention of "Ziri, ziriguidum" and "Skindô, skindô lelê" reflects the excessive use of meaningless phrases in hit songs. The third verse makes use of playful nonsense words to highlight the superficiality and shallowness of some popular songs at the time. The line about Chico, likely referring to Chico Buarque, a renowned Brazilian singer-songwriter, sarcastically portrays him as entitled and demanding, ordering expensive champagne instead of appreciating the local culture. The second verse continues the satirical commentary, referencing Sidney Magal, a prominent Brazilian singer known for his provocative dance moves, and Matogrosso, a member of the duo "Sandro & Junior" known for his flamboyant stage presence. The line also implies that Fafá's success is attributed more to her physical appearance than her talent. The mention of Fafá refers to Fafá de Belém, a popular singer known for her powerful voice and curvaceous figure. In the first verse, the lyrics mention various artists and their perceived roles in the disco scene, poking fun at their stage names and commercial success. This reflects a sentiment of frustration with the perceived decline in the quality and authenticity of the genre. In the chorus, the singer expresses confusion and disbelief at what has happened to Brazilian popular music, questioning why criticizing it is seen as trivial. The lyrics playfully criticize the mainstream music industry and its obsession with commercial success and trends. The song "Arrombou A Festa Número 2" by Rita Lee is a satirical commentary on the state of Brazilian popular music during the disco era. ![]()
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