Chão de Giz – Unveiling the Metaphorical Tapestry of Heartache

You can view the lyrics, alternate interprations and sheet music for Zé Ramalho's Chão de Giz at
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning
  4. The Ephemeral Echoes of Love Lost
  5. Firing Cannonballs into the Void
  6. A Chorus of Chalk Dust and Confetti
  7. The Secret Ink of Zé Ramalho’s Heart
  8. Retracing the Memorable Lines That Echo Eternity


Desço dessa solidão
Espalho coisas sobre um chão de giz
Há meros devaneios tolos a me torturar
Fotografias recortadas em jornais de folhas
Eu vou te jogar
Num pano de guardar confetes
Eu vou te jogar num pano de guardar confetes

Disparo balas de canhão
É inútil, pois existe um grão-vizir
Há tantas violetas velhas sem um colibri
Queria usar quem sabe
Uma camisa de força
Ou de Vênus
Mas não vou gozar de nós
Apenas um cigarro
Nem vou lhe beijar
Gastando assim o meu batom

Agora pego um caminhão
Na lona vou a nocaute outra vez
Pra sempre fui acorrentada
No seu calcanhar
Meus vinte anos de boy
That’s over, baby
Freud explica

Não vou me sujar
Fumando apenas um cigarro
Nem vou lhe beijar
Gastando assim o meu batom
Quanto ao pano dos confetes
Já passou meu carnaval
E isso explica porque o sexo
É assunto popular

No mais estou indo embora, baby
No mais estou indo embora
No mais, embora, baby, baby
No mais, estou indo embora
No mais, estou indo embora, baby, baby (no mais)
No mais, estou indo embora, baby
No mais, estou indo embora
No mais

Full Lyrics

A masterful blend of emotive storytelling and rich symbolism, Zé Ramalho’s ‘Chão de Giz’ transcends the realm of ordinary ballads to etch its mark on the conscience of its listeners. Like chalk on the ground, its verses trace ephemeral yet poignant images, weaving a tapestry of heartache and retrospection bound to resonate long after the melody fades.

Peering through the looking glass of ‘Chão de Giz,’ one delves into the depths of Ramalho’s soul, unearthing the interplay of passion and pain, freedom and captivity, as the song narrates a tale as timeless as love itself. The blueprint for understanding lies in interpreting the allegories strewn across the lyrics, each an intimate puzzle piece of the artist’s inner tumult.

The Ephemeral Echoes of Love Lost

Ramalho paints a picture of desolation with his opening lines, setting the stage on a ‘chalk ground’ – a representation of impermanence and fragility. His heartache is scattered, as are his thoughts, across this temporary canvas. These ‘mere foolish delusions’ that torment him are like photographs cut from the pages of time, suggesting the severed moments and memories that linger in the wake of a lost relationship.

Taking this a step further, the recurring imagery of chalk signifies the transience of his emotional state. It is as fleeting as the devotion that was once promised but now lies fragmented, a victim to the winds of change. Each verse is a strike against the permanence we often mistakenly attribute to love, reminding listeners that sometimes, the most intense feelings leave behind nothing but dust.

Firing Cannonballs into the Void

Emotional warfare takes center stage as Ramalho speaks of ‘firing cannonballs,’ an attempt to batter down the fortified walls that now exist between him and his former lover. The ‘grain-vizir’ stands as an unyielding gatekeeper to a reunion, perhaps the ego or even reality itself preventing the return to a cherished past.

This struggle is mirrored in the futile longing for ‘old violets without a hummingbird,’ a line dripping with the sorrow of forgotten beauty and unrequited love. The artist contemplates extreme measures — a ‘straitjacket or one of Venus’ — exposing the dual edges of love’s sword: the temptation to lose oneself entirely to passion versus the stark madness of dealing with its loss.

A Chorus of Chalk Dust and Confetti

In the resounding chorus, the singer’s resolve crystallizes. The ‘cloth to store confetti’ symbolizes the conclusion of festivities — the end of a love that was once celebrated. He refuses to invest further emotion or even the simple act of a kiss, poignant in its simplicity, resembling a final farewell to a chapter that must be closed.

Yet, the confetti itself is not without meaning; it is the remnants of revelry, a once vibrant and joyous time now swept away. By placing his anguish within this context, Ramalho draws a stark contrast between the revelry of Carnival — the pinnacle of Brazilian celebration — and the solitary quiet that follows. It is a powerful metaphor for the human condition to experience peak joy and profound sorrow.

The Secret Ink of Zé Ramalho’s Heart

Hidden within the song’s verses is a veiled reference to Freud, the father of psychoanalysis, which hints at the introspective nature of Ramalho’s lament. The acknowledgement of his ‘twenty years of boy’ being over insinuates a coming-of-age, shedding the naivety of youth and confronting the reality of emotional maturity.

In the deeper crevices of this lyrical excavation, the jettisoning of the protagonist’s past self reflects a universal journey towards self-realization. The artist uses this personal evolution to explain, perhaps somewhat cynically, why ‘sex is a popular subject’ — because it is often mistaken for love, the true yet elusive desire of the heart.

Retracing the Memorable Lines That Echo Eternity

‘My carnival has passed’ — this solitary confession captures the essence of ‘Chão de Giz.’ It is not just about love lost, but about time passing and the ephemerality of joy. These moments of clarity, strewn like pearls, reinforce the narrative that even in the throes of celebration, the seed of impermanence is sown.

In Ramalho’s own exit, ‘I’m going away, baby,’ the repetition signifies not just physical departure but an emotional detachment finally realized. The refrain leaves us with the haunting specter that all things, good or bad, must come to an end. ‘Chão de Giz’ is a reminder of the powerful imprint transient moments leave on our hearts, urging listeners to reflect on the chalk lines of their own lives.

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