Where was Cazuza born?
Cazuza was born in the city of Rio de Janeiro, specifically in the Botafogo neighborhood, located
in the south of the city. Botafogo is a neighborhood known for its historical and cultural
importance, bordered by Guanabara Bay and characterized by a mixture of elegant residences
and local commerce. It came into the world in a maternity hospital located in this region, which,
at the time, was recognized for serving families of the upper middle class and the Rio de Janeiro
elite. This neighborhood, which overlooks iconic spots such as Pão de Açúcar, was part of
everyday life and the context where it was born and raised.
Como foi a infância e a adolescência de Cazuza?
He had a childhood and adolescence that shaped his personality and his music.
Cazuza grew up in an upper middle class family. His father, João Cazuza, was an important
businessman in the advertising sector, and his mother, Lúcia, was a cultured woman involved in
social activities. From an early age, Cazuza had access to culture and art, which influenced his
artistic development.
As a teenager, he stood out as a rebellious and restless young man. Cazuza studied in traditional
schools in Rio de Janeiro, but did not adapt very well to the school environment. He was known
for his free spirit and not being afraid to express his opinions. During this phase of his life, he
began to compose his first songs and get involved with the music scene.
Cazuza also experienced emotional difficulties during her adolescence, including family conflicts
and the beginning of her struggle with drug addiction. These personal challenges profoundly
influenced his lyrics and musical style later in life.
He gained notoriety in the 1980s as the lead singer of Barão Vermelho, one of the most iconic
bands in Brazilian rock. His lyrics were full of emotion, social criticism and reflections on love and
loneliness, reflecting much of his own experience.
Personal Challenges:
In addition to the typical youthful rebelliousness, Cazuza faced significant family conflicts. His
relationship with his parents was complicated; he felt he did not meet their expectations and this
led to tensions. These personal conflicts contributed to his struggle with drug addiction that
began in his teens. The search for freedom and his own identity led him to experiment with
drugs, something that would later be reflected in the sincere and emotional lyrics of his songs.
These formative experiences shaped not only his personality but also his unique musical style,
which blended personal issues with profound social critique.
When was Cazuza born?
Cazuza was born in Rio de Janeiro, on April 4, 1958. He was one of the greatest icons of Brazilian
music, standing out as a singer and composer. Son of an upper middle class family, he grew up in
an artistic and intellectual environment. His musical trajectory was marked by his intense
personality and his ability to express the emotions and anxieties of his generation. Cazuza was
known mainly for his work with the band Barão Vermelho and for his solo career, leaving a legacy
of songs that are still widely appreciated.
When did Cazuza die?
Cazuza, a Brazilian singer and songwriter known for his intensity and provocative, poetic lyrics,
died on July 7, 1990, at the age of 32, due to complications related to AIDS. He had publicly
revealed his struggle with the disease in 1989, becoming one of the first artists in Brazil to speak
openly about the subject, at a time of great stigma and misinformation about the HIV virus.
Cazuza's health deteriorated over the years, but he continued to produce and perform, recording
even while facing severe physical difficulties. His death left a profound mark on the Brazilian
artistic scene, and his courage in facing the disease brought greater awareness of AIDS in the
country. Even after his death, his legacy lives on, especially through songs such as Exagerado,
Codiname Beija-Flor and O Tempo Não Para, which are still widely heard and remembered for
their cultural and emotional impact.
The term “exagerado”
Exaggerated: this is probably the adjective that best described Agenor de Miranda Araújo Neto,
better known as Cazuza. One of the most important singers in Brazilian popular music, he took
this idea seriously and could be considered an exaggerator in his love life, in his entire journey,
and even in his death.
From a young age, he already gave his family a preview of what his life would be like: an uproar.
“He always wanted to set everything on fire, and that’s what he ended up doing with his life. But
at one point, he realized the size of the fire, and it was no longer possible to put it out,” said the
artist’s mother, Lucinha Araújo.
He had many loves in his adolescence. Lucinha was already used to it, but when she read a very
affectionate letter Cazuza had written to a friend, she began to question her son’s sexuality. In
her book Only Mothers Are Happy (1997), she recounted the episode in which, without
hesitation, she asked him directly.
“My son, are you homosexual?” his mother asked. Calmly, he replied: “Look, mom, I’m neither
one thing nor the other, because nothing in life is definitive. You could say I’m bisexual, because I
haven’t made my choice yet. One day I might like a man, and the next, a woman. So don’t worry
about it.”
The explanation given by the future artist can be defined as bisexuality, which he later confirmed.
Throughout his life, Cazuza fell in love with both men and women, having romantic and sexual
relationships with both.
The exaggerated singer’s first great love was with a family neighbor in Leblon. At just 17, on an
ordinary afternoon, he asked his mother for money to pay for an X-ray test. A few days later, the
clinic called their home, asking for payment for the exam. When his mother questioned him about
the money’s purpose, she found out he had given it to his girlfriend to pay for an abortion.
Most of Cazuza’s relationships were not officially acknowledged or, at least, not public. One of
his known relationships from his youth was with Patrícia Casé, the sister of actress Regina Casé.
The two lived together for six months, but after a fight, they separated completely. He even
wrote her a farewell letter: “You love me to the cube, and I love you to the square. I can’t give you
less than you deserve.”
Career
Red Baron
Barão Vermelho, which until then was formed by Roberto Frejat (guitar), Dé Palmeira (bass),
Maurício Barros (keyboard) and Guto Goffi (drums), really liked Cazuza's screamy vocals. Then,
Cazuza showed the band lyrics he had written and started composing with Roberto Frejat,
forming one of the most celebrated duos in Brazilian rock.[ 9] From then on, the band that
previously only played covers begins to create its own repertoire. After listening to a demo tape
of the band, producer Ezequiel Neves convinced the artistic director of Som Livre, Guto Graça
Mello, to record the band.[ 6]Together they convince the reluctant João Araújo to bet on the
Baron.
With a cheap production and recorded in just two days, the band's first album, Barão Vermelho,
is released in 1982. Of the most important songs, "Bilhetinho Azul", "Ponto Fraco", "Down Em
Mim" and "Todo Amor Que Houver Nessa Vida" stand out. Despite being critically acclaimed, the
album sold only seven thousand copies.[ 6]After some concerts in Rio de Janeiro and São Paulo,
the band returned to the studio and with a better production recorded the album Barão Vermelho
2, released in 1983. This album sold 15,000 copies. It was at this stage that, during a concert at
Canecão, Caetano Veloso pointed out Cazuza as the greatest poet of the generation and
criticized the radios for not playing the band. At the time, radios only played Brazilian pop and
MPB. The label of "cursed band" only abandoned the Red Baron when singer Ney Matogrosso
recorded "Pro Dia Nascer Feliz". It was the push that was missing, and the band gained a public
life of its own.
Biggest Abandoned and Rock in Rio
The band was invited to compose and record the theme of the movie Bete Balanço. The title
song became one of the band's great classics, boosting the film that became a box office
success. The song also boosted sales of the Baron's third album, Maior Abandonado, released in
October 1984, which won a gold record, recording other compositions such as "Maior
Abandonado" and "Por Que a Gente é Assim?". On January 15 and 20, 1985, Barão Vermelho
performed at the first edition of Rock in Rio.[ 9] The presentation of the band on the fifth day
became anthological because it coincided with the election of President Tancredo Neves and the
end of the Military Dictatorship. Cazuza announced this fact to the audience present and to
celebrate, he sang "Pro Dia Nascer Feliz".[ 10]
"I don't share anything, much less the stage"
Cazuza left the band in order to have freedom to compose and express himself, musically and
poetically. In July 1985, during the rehearsals of the fourth album, Cazuza left Barão Vermelho to
pursue a solo career. It is suspected that in that same year he began to have a daily fever, signs
of AIDS that would worsen years later. Ezequiel Neves, who worked with the Baron, was divided
between the band and Cazuza's solo career. "I was 'Salomonic'," he said in an interview with
Jornal do Commercio, in 2007, when Cazuza would turn 49 years old.
Solo career
Exaggerated and Only If It's Two
In October 1985, he was hospitalized to be treated for pneumonia. Cazuza demanded an HIV
test, of which the result was negative. In November 1985, the first solo album, Exagerado, was
released. "Exagerated", the title track composed in partnership with Leoni, becomes one of the
singer's greatest hits and trademark.[ 9] The song "Só As Mães São Felizes" was vetoed by
censorship. He recorded his second album in the second half of 1986; as Som Livre broke with
its cast of artists, Só Se For A Dois was released by PolyGram (now Universal Music Group) in
1987. Soon after, PolyGram hired Cazuza. Só se For a Dois showed romantic themes such as "Só
se For a Dois", "O Nosso Amor a Gente Inventa", "Solitude Que Nada" and "Ritual".
Ideology and Time Doesn't Stop
AIDS manifested itself in 1987; Cazuza was hospitalized with pneumonia, and a new test revealed
that the singer was a carrier of the HIV virus. In October, Cazuza was admitted to the São
Vicente Clinic, in Rio de Janeiro, to be treated for a new pneumonia. Then he was taken by his
parents to the United States. There, he underwent AZT-based treatment for two months at New
England Hospital in Boston. Upon returning to Brazil in early December 1987, Cazuza begins
recording for a new album. Ideology, from 1988, includes the hits "Ideologia", "Brasil" and "Faz
Parte Do Meu Show". "Brasil", in Gal Costa's version, was the opening theme of the soap opera
Vale Tudo, from Rede Globo, and won the Sharp Award for best song of the year and best pop-
rock composition of the year (Cazuza, George Israel and Nilo Romero).
The shows become more elaborate and the tour of the album Ideologia, directed by Ney
Matogrosso, traveled all over Brazil. Tempo Não Para, recorded at Canecão during this tour, was
released in 1989. The album became the greatest commercial success by surpassing the mark of
500,000 copies sold. The track "O Tempo Não Para" became one of his greatest successes. Also
highlighted are "Todo Amor Que Houver Nessa Vida" with a new more introspective
arrangement, "Codinome Beija-Flor" and "Faz Parte Do Meu Show". "O Tempo Não Para" was
also released on VHS by Globo Filmes.[ 10]
Bourgeoisie
In February 1989, he publicly declared that he was HIV-positive, thus helping to create
awareness about the disease and its effects. He attended the Sharp Award ceremony in a
wheelchair, and received the awards for best song for "Brasil" and best album for Ideologia.
Bourgeoisie (1989) was recorded with the singer in a wheelchair and with a clearly weakened
voice.[ 3] It is a double album of dual concept, being the first album with Brazilian rock songs
and the second with MPB songs. Burguesia was the last album recorded by Cazuza and sold
250,000 copies.[ 5] Cazuza received the posthumous Sharp Award for best song with "Cobaigs
of God".[ 11]
Death
In October 1989, after four months based on alternative treatment in São Paulo, Cazuza left
again for Boston, where he was hospitalized until March 1990, thus returning to Rio de Janeiro.
On the morning of July 7, 1990, Cazuza died in his apartment in Ipanema at the age of 32 from a
septic shock caused by AIDS. More than a thousand people attended the funeral, including
relatives, friends and fans. The coffin, covered with flowers and sealed, was taken to the grave
by the former companions of the Red Baron. Cazuza was buried in the cemetery of São João
Batista, in Rio de Janeiro. On the marble top of the tomb appears the title of his last great
success, "O Tempo Não Para", and the dates of his birth and death. On his tombstone there is
nothing but his famous code name.[ 9] The following year, the posthumous album Por Aí was
released.
A Proof of Love
A musical presentation by Cazuza entitled Uma Prova de Amor was available on YouTube, in
which he worked on the songs from the CD O Tempo Não Pára - Ao Vivo. Several interpreters
and personalities appear in the record. Gal Costa, Sandra de Sá, Simone and Frejat appear on
stage to sing, where they sing together for the first time Bete Balanço. In the audience, Lucinha
Araújo, mother of Cazuza, Malu Mader, Cláudia Abreu and Marina Lima. Marina had been called
by Cazuza initially to sing Preciso Dizer Que Te Amo, in a very irreverent moment. But Cazuza
affectionately asked Marina to just listen to his interpretation. Among the supporting musicians
were Ricardo Palmeira, brother of Dé Palmeira, at the time a member of Barão Vermelho and Nilo
Romero, music producer and one of the composers of music Brazil.
