The Girl from Ipanema
|"The Girl from Ipanema"|
|Song by Antônio Carlos Jobim|
|Genre||Brazilian Bossa nova|
|Writer||Vinícius de Moraes
Norman Gimbel (English lyrics)
|Composer||Antônio Carlos Jobim|
|"The Girl from Ipanema"|
|Single by Stan Getz and João Gilberto|
|from the album Getz/Gilberto|
|Released||25 July 1964|
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"Garota de Ipanema" ("The Girl from Ipanema") is a well-known Brazilian bossa nova song, a worldwide hit in the mid-1960s that won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinicius de Moraes. English lyrics were written later by Norman Gimbel.
The first commercial recording was in 1962, by Pery Ribeiro. The version performed by Astrud Gilberto, along with João Gilberto and Stan Getz, from the 1964 album Getz/Gilberto, became an international hit. In the US, it peaked at number five on the Hot 100, and went to number one for two weeks on the Easy Listening chart. Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world. Numerous recordings have been used in films, sometimes as an elevator music cliché. It is believed to be the second most recorded pop song in history, after "Yesterday" by The Beatles. The song was inducted into the Latin Grammy Hall of Fame in 2001. In 2004, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2009, the song was voted by the Brazilian edition of Rolling Stone as the 27th greatest Brazilian song.
The song was composed for a musical comedy titled Dirigível (Blimp), then a work-in-progress of Vinícius de Moraes. The original title was "Menina que Passa" ("The Girl Who Passes By"); the famous first verse was different. Jobim composed the melody on his piano in his new house in Rua Barão da Torre, in Ipanema. In turn, Moraes had written the lyrics in Petrópolis, near Rio de Janeiro, as he had done with "Chega de Saudade" ("No More Blues") six years earlier.
During a recording session in New York with João Gilberto, Antonio Carlos Jobim and Stan Getz, the idea of cutting an English-language version came up. João's wife, Astrud Gilberto, was the only one of the Brazilians who could speak English well and was chosen to sing. Her voice, without trained singer mannerisms, proved a perfect fit for the song.
The song was inspired by Heloísa Eneida Menezes Paes Pinto (now Helô Pinheiro), a nineteen-year-old girl living on Montenegro Street in the fashionable Ipanema district in Rio de Janeiro, Brazil. Daily, she would stroll past the popular Veloso bar-café, not just to the beach ("each day when she walks to the sea"), but in the everyday course of her life. She would sometimes enter the bar to buy cigarettes for her mother and leave to the sound of wolf-whistles. In the winter of 1962, the composers watched the girl pass by the bar, and it is easy to imagine why they noticed her—Helô was a 173-cm (five-foot eight-inch) brunette, and she attracted the attention of many of the bar patrons. Since the song became popular, she has become a celebrity.
In Revelação: a verdadeira Garota de Ipanema (Revealed: The Real Girl from Ipanema) Moraes wrote she was:
- "o paradigma do broto carioca; a moça dourada, misto de flor e sereia, cheia de luz e de graça mas cuja a visão é também triste, pois carrega consigo, a caminho do mar, o sentimento da mocidade que passa, da beleza que não é só nossa—é um dom da vida em seu lindo e melancólico fluir e refluir constante."
- "the paradigm of the young Carioca: a golden teenage girl, a mixture of flower and mermaid, full of light and grace, the sight of whom is also sad, in that she carries with her, on her route to the sea, the feeling of youth that fades, of the beauty that is not ours alone—it is a gift of life in its beautiful and melancholic constant ebb and flow."
In 2001, the song's copyright owners (heirs of their composer fathers) sued Pinheiro for using the title of the song as the name of her boutique (Garota de Ipanema). In their complaint, they stated that her status as The Girl from Ipanema (Garota de Ipanema) does not entitle her to use a name that legally belongs to them. Public support was strongly in favor of Pinheiro. A press release by Jobim and Moraes, the composers, in which they had named Pinheiro as the real Girl from Ipanema (Garota de Ipanema) was evidence that they had intended to bestow this title on her. The court ruled in favor of Pinheiro.
as the result of the huge success of the 1964 recording, and her frequent subsequent performances of "Ipanema," she has become known as The Girl from Ipanema and is identified by the public with the 1964 recording. She claims as a result to have earned trademark rights in the 1964 recording, which she contends the public recognizes as a mark designating her as a singer. She contends, therefore, that Frito-Lay could not lawfully use the 1964 recording in an advertisement for its chips without her permission.
In Oliveria v. Frito-Lay Inc. (2001), her claims were rejected by the United States Court of Appeals for the Second Circuit.
|Olha que coisa mais linda||Look what a most beautiful thing|
|Mais cheia de graça. É ela menina||So full of grace. It is her, the girl|
|Que vem e que passa||That comes and goes by|
|Num doce balanço a caminho do mar||In a sweet cadence, on her way to the sea|
|Moça do corpo dourado||Girl with a golden body|
|Do sol de Ipanema, o seu balançado||by the Ipanema sun, your cadence|
|É mais que um poema||Is more than a poem|
|É a coisa mais linda que eu já vi passar||It's the most beautiful thing I've ever seen go by|
|Ah, por que estou tão sozinho||Ah, why am I so lonely?|
|Ah, por que tudo é tão triste?||Ah, why everything is so sad?|
|Ah, a beleza que existe||Ah, the beauty that is out there!|
|A beleza que não é só minha||The beauty that is not just mine|
|Que também passa sozinha||that also goes by alone|
|Ah, se ela soubesse||Ah, if she only knew|
|Que quando ela passa o mundo sorrindo||That when she passes, the whole world|
|Se enche de graça e fica mais lindo||Gets filled with grace and becomes more beautiful|
|Por causa do amor||Because of love|
The Boy from Ipanema
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When sung by female artists the song has often been rendered as "The Boy from Ipanema", such as by Shirley Bassey, Peggy Lee, Petula Clark on the Muppet Show, and Diana Krall on her 2009 album Quiet Nights. It is also referenced in Annie's "Anthonio".
- "The Girl From Ipanema". OldieLyrics. Retrieved 19 November 2009.
- Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 102.
- The Wall Street Journal http://online.wsj.com/article/SB10001424052702303649504577492603567202024.html
|url=missing title (help).
- "Latin GRAMMY Hall Of Fame". Latin Grammy Award. Latin Academy of Recording Arts & Sciences. 2001. Retrieved August 19, 2014.
- "The National Recording Registry 2004". Library of Congress.
- Cavalcanti, Paulo (2009). "As 100 Maiores Músicas Brasileiras - "Garota de Ipanema"". Rolling Stone Brasil (in Portuguese). Spring. Retrieved 6 January 2014.
- DeMain, Bill (December 2006). "The Story Behind "The Girl From Ipanema"". Performing Songwriter (98).
- Jobim, Tom (1962). "Garota de Ipanema". All of Tom's Music. Retrieved 11 Aug 2012.
- Castro, Ruy (2000). Bossa Nova: The Story of the Brazilian Music That Seduced the World. A Cappella. pp. 239–240. ISBN 978-1-55652-409-7.
- Rohter, Larry (August 11, 2001). "Ipanema Journal; Still Tall and Tan, a Muse Fights for a Title". The New York Times.
- Aith, Marcio (August 13, 2001). "Herdeiros de Ipanema querem destruir a poesia". Folha Online. (Portuguese)
- "The Girl From Ipanema". Stan-Shepkowski.Net.
- Oliveria v. Frito-Lay Inc., 251 F.3d 56 (2nd Cir. 2001).
- Vogel, Scott (August 10, 2008). "A cruise to meet the muse of "Girl From Ipanema"". The Seattle Times.
- Full lyrics of this song at MetroLyrics