My name is Victoria Broadus and I'm currently living in Washington, D.C., pursuing a PhD in History at Georgetown University.

1: 1901 – 1957 by Zuza Homem de Mello and Jairo Severiano (1997), and Panorama da Música Popular Brasileira, vol.

Main sources for this post: A Canção no Tempo: 85 Anos de Músicas Brasileiras, vol. Para três quatro, quatro, três, três, três Que estou disposto a ficar exposto ao sol Que não estou disposto a ficar exposto ao sol Um guardanapo e um copo d’água bem geladaįeche a porta da direita com muito cuidado Seu garçom, faça o favor de me trazer depressa And though many artists went on to record it, Zuza Homem de Mello and Jairo Severiano remark that Rosa’s recording (both versions above) is the best, “because he ‘speaks’ the lyrics with the same naturalness with which a malandro would give all of those orders to a bar waiter.” The song is also acclaimed for its perfectly matched syncopated melody, by Vadico. (The concept of the malandro is explained in this post.) The listener can infer that the character gets by day-to-day with this kind of idle talk and maybe some winnings from the Jogo do Bicho. The character is Rosa’s depiction – or mild caricature – of the typical carioca malandro , the likes of which Rosa had little patience for. After making a litany of absurd requests of a waiter he addresses with a phony reverence, and referring to the bar as his “office,” the customer says he’s going to have to put the meal on his tab (from Portuguese, this line translates literally to “hang it on the hanger” ) since he left his money with the bicheiro – the local boss of the Jogo do Bicho, a popular nationwide lottery allowing bets as low as a cent. This song pokes fun at a customer who acts as if he owns the establishment just because he’s buying a measly coffee and bread. Likely as a result, he spent much of his brief adult life in dimly lit bars and cafés in Rio de Janeiro, and became familiar with their clientele. Noel Rosa (1910 – 1937) had a face that was badly deformed from an accident right after his birth. Written by Noel Rosa, whom Ary Vasconcellos calls “without a doubt, the greatest name in samba carioca,” the song spiritedly satirizes a quotidian scene in Rio de Janeiro in the 1920s and 1930s that resonates today. Nearly eighty years after its release, “Conversa de Botequim” (roughly, bar talk) is still considered one of the most astute and poetic observations on carioca society in Brazilian popular music. Interpretation - Noel Rosa, known as “o poeta da Vila” – the poet from Vila Isabel. Go tell your manager to hang this tab on the hanger up front Mister Waiter, lend me some money, cause I left mine with the bicheiro Osório to send me an umbrella here in our office Go tell the cigar maker to lend me some magazines, a lighter and an ashtrayĬall, at least once, to three-four- four- three-three-threeĪnd tell Mr. Go ask your boss for a pen, an inkwell, an envelope and a cardĭon’t forget to give me toothpicks, and a cigarette to scare the mosquitoes If you go on cleaning the table, I’m not getting up nor will I pay the bill Some bread, nice and warm, with plenty of butterĪs I’m not inclined to be exposed to the sunĪnd go ask your customer there the result of the football match. Mister Waiter, do me a favor and bring me hurriedly

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