Unmasking the Realities of Brazil: A Critical Anthem

Kid Abelha's song 'Brasil' is a poignant critique of the socio-political landscape of Brazil. The lyrics express a sense of exclusion and disillusionment with the country's systemic issues. The opening lines, 'Não me convidaram pra essa festa pobre que os homens armaram pra me convencer,' set the tone for the song, highlighting the artist's feeling of being left out of the decision-making processes that shape the nation. This 'festa pobre' or 'poor party' metaphorically represents the flawed and corrupt systems that have been in place long before the artist's birth, suggesting a deep-rooted problem that spans generations.

The recurring chorus, 'Brasil, mostra a tua cara, quero ver quem paga pra gente ficar assim,' is a direct call for transparency and accountability. The artist demands to see the true face of Brazil and questions who is responsible for the country's current state. This plea for honesty and openness is a powerful statement against the hidden agendas and corruption that plague the nation. The mention of a 'cartão de crédito' being a 'navalha' or 'razor' further emphasizes the sharp and dangerous nature of financial and political manipulation.

The song also touches on themes of media influence and societal expectations. Lines like 'não me elegeram a garota do fantástico' and 'ver tv a cores na taba de um índio' critique the superficial standards and the role of media in shaping public perception. The artist's refusal to conform to these expectations and the sarcastic tone in 'programada pra só dizer sim' underscore a resistance to being controlled or silenced. Ultimately, 'Brasil' is a call to action for the people to demand change and hold those in power accountable, making it a timeless anthem for social justice and reform.

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  1. Fixação
  2. Lágrimas e chuva
  3. Educação sentimental II
  4. No Seu Lugar
  5. Caso de Verão (O Amorzinho)
  6. Como Eu Quero
  7. O Rei do Salão
  8. Como Yo Quiero (Como Eu Quero)
  9. Eu só penso em você
  10. Os outros
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