Quarta-feira

Cazuza's song 'Quarta-feira' delves into themes of melancholy, longing, and the search for connection amidst the mundanity of everyday life. The lyrics paint a vivid picture of a person grappling with depression, symbolized by the 'depressivo' book on the beach. This setting serves as a metaphor for the emotional isolation and the hope that someone might eventually 'fall into their net,' despite the presence of 'cacos de vidro' (shards of glass), representing the potential for pain in relationships.

The song also critiques societal norms and the superficiality of certain interactions. The 'galã' (heartthrob) is oblivious to being 'bombarded with mint bullets,' a metaphor for the trivial and insincere gestures that often pass for genuine affection. Similarly, the 'santa milagrosa' (miraculous saint) realizes that divine intervention is not forthcoming, leading to a sudden act of rebellion. This reflects a disillusionment with traditional sources of comfort and the realization that one must take action to change their circumstances.

Cazuza's lyrics further explore the desire for deep, meaningful connections. The plea for love 'bastante' (enough) to last 'daqui até a Constante Ramos' (a street in Rio de Janeiro) symbolizes a longing for enduring companionship. The imagery of 'dois gigantes' (two giants) facing buses together underscores the strength found in unity. The song also touches on the universal desire to be a hero, even if it's a 'herói triste' (sad hero), and the poignant love felt by the 'dama sem cara' (faceless lady) with 'bolsas vazias' (empty bags), highlighting the emotional voids people often carry.

In the final verses, Cazuza expresses a unique affection for 'cachorros e bichas' (dogs and queers), 'duques e xerifes' (dukes and sheriffs), who understand that love is about simple, genuine gestures like 'abanar o rabo' (wagging the tail) and 'dar a pata' (giving the paw). This contrasts with the dreams of 'mulatas' (mulatto women) being kidnapped by 'sheiks alemães' (German sheiks), a fantasy of escape from their mundane realities. The recurring dream of office workers that 'já é de tarde' (it's already afternoon) every morning underscores the repetitive and often unfulfilling nature of daily life.