• Categories
  • Archives

Bye-bye, Bad Girl!

 Bye-bye, Bad Girl!

In her last studio album—Com Você… Meu Mundo
Estaria Completo
from ’99—Cássia Eller sang more softly
than in her previous works. At the time, she credited
her newfound vocal softness to a
request by her son,
who complained that she “screamed too much”.

By
Ernest Barteldes

As 2001 approached its conclusion, Brazilian music faced another untimely loss: On December 29, Cássia Eller, a
deep-voiced, no-nonsense singer passed away in Rio de Janeiro of undisclosed causes. She was 39. Ms. Eller was one of the
most versatile voices to appear in the Brazilian pop scene after the eighties rock boom.

Her first big hit was “Por Enquanto” (“Meanwhile”), a Renato Russo-penned song originally recorded by his band,
the now-defunct Legião Urbana. Her version, which hit the airwaves in the summer of 1990, featured Eller’s unique vocal
talents simply accompanied by her own acoustic guitar with a snippet of The Beatles’ “I’ve Got A Feeling”.

That first song made us notice how different Cássia Eller sounded. Instead of the bland, poppish female voices that
dominated the previous decade, music fans were introduced to a tough, no-frills contralto that came with a promise. Her first record,
simply titled Cássia Eller, had several jewels, such as a remake of Jimi Hendrix’s “If Six Was Nine” and a reggae-spiced remake
of The Beatles’ “Eleanor Rigby.”

Her second album, “O Marginal”, went quite unnoticed, but her rendition of
Hendrix’s “I Keep My Train A-Coming”
was something out of the ordinary. The third one, however, would ultimately turn Cássia Eller into a household name. Simply
titled Cássia Eller, the record was an indisputable success. Its biggest song, “Malandragem” (“Loafing”), penned by Cazuza
and Frejat, was an immediate hit, and Eller’s versatility was finally noticed nationwide.

The album contained classic samba songs, remakes of rock hits (including Otis Redding’s “Try a Little
Tenderness”), and some original material penned by composers such as Marisa Monte, Carlinhos Brown and Nando Reis. That album
was an unstoppable hit, which led to a sold-out national unplugged tour, in which she basically went through the songs on
her own guitar, accompanied by two other musicians. A CD of that tour was released in 1996.

Eller was considered by many the musical heiress of the late Cazuza (who died of AIDS eleven years ago) not only
by her musicality but also by her brashness: like that singer, she was openly gay (she lived in a stable same-sex relationship
for over ten years) and did not shun from controversy when onstage.

During shows, she would often grope herself or expose her breasts to the audience. Of course, Cazuza never did
anything like that, but he got a lot of flak from the press by appearing visibly drained from the effects of AIDS, to the point of
being on the verge of collapsing during shows as he ended what would turn out to be his final tour.

In 1997, she released Veneno
Antimonotonia (Anti-Boredom Poison), which was dedicated to the works of Cazuza.
Earlier that year, she had guested in a number of shows by the late composer’s former band, Barão
Vermelho.

I saw one of those presentations when the band appeared at Biruta, a famous stage in Fortaleza, Brazil. Halfway
through the band’s set, she entered the stage and brilliantly performed “Malandragem” and other songs. She ended her
participation by sharing the lead with Roberto Frejat (the band’s lead guitarist and vocalist) “Só as Mães São Felizes” (Only Mothers
Are Happy), a bluesy Cazuza/Frejat tune that had been included in the band’s most recent album then.

Her last studio album was 1999’s Com Você… Meu Mundo Estaria Completo
(With You, My World Would Be Complete), in which Eller sang more softly than in her previous works. At the time, she credited her newfound vocal softness to a
request by her infant son, who complained that his mother “screamed too much”.

Cássia Eller went through a long-term treatment to kick her cocaine habit. “I did it by my own will”, she told the press
a few months ago. She had recently released a new live album,
MTV Unplugged, which has been her biggest-selling
record. She was getting ready for a national tour and for a New Year’s musical bash in Rio de Janeiro.

On the morning of Dec 29, she entered the Santa Maria Clinic in Rio de Janeiro with stress-related symptoms. That
afternoon, she was admitted to intensive care and died early in the evening after three cardiac arrests. The Brazilian
press immediately assumed that Cássia Eller had had a drug overdose, but her family firmly denied that.

The results of her autopsy, as of this writing, have not yet been released. She is survived by her only son,
Francisco, better known as Chicão, who is currently eight years old. The most lasting memory I have of Cássia Eller was when I
attended her show at Pirata, a famous Club in Fortaleza, during her first national tour in 1991, in which I was, for the first time,
exposed
to her music and irreverence.

After the gig, I ventured to chat (those were the days…) with the musicians of her band (especially her bass player,
the late Otavio Fialho, who would later father Eller’s only child). I stuck around at the club with a couple of acquaintances ,
and one of them (let’s call him “Bruce”) was with a date. As Eller walked towards the bus, she shook hands with us and then,
as the girl approached her, Eller held her hand, looked at her and simply led her away to the band’s bus, which would take
them to a nearby hotel.

At that time, Eller had not yet “come out” publicly, so we sort of looked at each other and at “Bruce”, who, like us,
could not understand what was going on. Whatever happened after that I never found out, for “Bruce” never told me.

For more on Cássia Eller, log on to
http://www.cassiaeller.com.br


Ernest Barteldes is an ESL and Portuguese teacher. In addition to that, he is a freelance writer who has been
weekly contributing to the Greenwich Village Gazette
since September 1999. His work has also been published by
The Staten Island Advance, The Staten Island
Register, The SI Muse, The
Villager, Brazzil magazine, GLSSite
and other publications. He lives on Staten Island, NY. He can be reached at
ebarteldes@nycny.net

Gatas Extraordinárias

Caetano Veloso

O amor me pegou
E eu não descanso enquanto não pegar
Aquela criatura
Saio na noite à procura
O batidão do meu coração na
pista escura
Se pego, ui me entrego e fui
Será que ela quererá, será que ela quer
Será que meu sonho influi
Será que meu plano é bom
Será que é no tom
Será que ele se conclui
E as gatas extraordinárias que
Andam nos meios onde ela flui
Será que ela evolui
Será que ela evolui
E se ela evoluir, será que isso
me inclui
Tenho que pegar, tenho que pegar
Tenho que pegar essa criatura
Tenho que pegar, tenho que pegar
Tenho que pegar

Extraordinary Pussycats

Love caught me
And I won’t rest before I catch
That creature
I get out at night searching
My heart’s strong beat in the
dark dancehall
If I catch, ahh, I surrender, it’s over
Will she want, can she possibly want?
Will my dream have any influence?
Could my plan be good?
Is it in tune?
Will it get to an end?
And the extraordinary pussycats who
Walk in the ways she flows
Will she evolve?
Can she possibly evolve?
And if she evolves, will that maybe
include me
I have to catch, I have to catch
I have to catch this creature
I have to catch, I have to catch
I have to catch

Caetano Veloso composed this song
especially for Cássia Eller to sing.
It was recorded in
Com Você…
Meu Mundo Ficaria
Completo
(Universal, 1999)

Send
your
comments to
Brazzil

  • Show Comments (0)

Your email address will not be published. Required fields are marked *

comment *

  • name *

  • email *

  • website *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Ads

You May Also Like

Terreirada Cearense Carnaval Block in Rio - Fernando Frazão/ABr

Brazilian Justice Bans Carnaval Group for Celebrating Dictatorship and Torture

Dubbed “the world’s biggest party,” Brazil’s Carnaval is officially underway and this year’s festivities ...

Cae & Gil 120 Years of Sound

The partnership between Caetano and Gil is one of the most fertile and lasting ...

Art and Intrigue

Although the book reads well and Rubem Fonseca deserves to be better known in ...

Jovino mission: to spread Hermeto Pascoal

Seattle-based Jovino Santos Neto has one mission: make Hermeto Pascoal musical genius known to ...

Chomsky, Oliver Stone, and 20 Other Celebrities Decry Coup Against Brazil’s President

Twenty-two international intellectuals, writers, actors, and activists sent a letter to the Brazilian government ...

Recife’s Teatro de Santa Isabel Fans Festival Fervor

One of the most noteworthy examples of neoclassical architecture in Brazil, the Teatro de ...

A meeting of Brazil's House of Representatives - EBC

The Way Brazil Congress Found to Deal with Their Crimes: Amnesty for All

  The recent list with almost 100 names sent by Brazil’s Federal Prosecutor’s Office ...