Oh Controversial: Owner Of Hit ‘Let Me Put My Doll On’ Reveals He Never Liked Carnival

In conversation with Terra, he celebrated the repercussions of the song, which “jumped the line” and became the band’s bet for Salvador’s carnival

maybe for you Ah controversial, singer of the song ‘Deixa Eu Botar Meu Boneco’, be a new figure in the music scene. But since 2020, the voice of Deivison Nascimento, 23, has been smashing hit after hit.

It all started with the song ‘Online e Metendo’, which went viral when he was still the lead singer of the band O Metrô. Subsequently, “Samba do Polly” even became a jingle for political campaigns: surprisingly, the singer’s voice marked the campaigns of the governor-elect Jerônimo Rodrigues (PT) and his then rival in the dispute, ACM Neto (DEM).

The difference is that now Oh Controversial seems to have broken geographical barriers, gone viral on TikTok and become a hit in Brazil and even abroad, with a little help from the “Korean pagodeiro”.

The young man, who has never gone out to enjoy Salvador’s carnival, is now itching to drag a crowd from the top of an electric trio. In conversation with EarthOh Polêmico talked about the proportion won by “Deixa Eu Botar Meu Boneco”, confessed that this was not his first bet as successful and revealed a new partnership that should come out after the carnival.

Watch the interview in full!

Introduce yourself to us: who is Oh Controversial?

The person behind Oh Controleto is Deivisson Nascimento Santos. I am 23 years old, I have a 7 year old son. I started my career at age 15 singing funk. Then I went to [sic] pagoda. I started a project with my father in Guarajuba, then I came to live in Salvador. I was part of the band O Metrô and from there I moved to A5 Produções, where I am today.

Was ‘Samba do Polly’ a milestone for you? The song is also controversial… It was a jingle for Jerônimo (PT) and later for ACM Neto (União)…

Yes, it was “Polly’s Samba” [um marco]. I have always supported ACM Neto, I have always been a fan of ACM Neto and Bruno Reis. It was more work with Jerônimo.

Besides, you’ve already released ‘Deixa Eu Botar Meu Boneco’, which gained a huge national exposure, right?! What was it like to witness this success?

It had a national and international projection. Different digital influencers, footballers, other artists are also listening, sharing, dancing videos. It’s rewarding. It was a surreal feeling, I couldn’t believe it. I was betting on another song, which is ‘Algema e Bota’ and out of nowhere came ‘Boneco’, and it became a hit [sic] of the summer. With faith in God will be the music of the carnival.

There is an important song in this dispute, which is “Zona de Danger”, by Léo Santana. Many people joke that the dispute is between these two songs. What do you think?

I’m a fan of Leo. I have it as an idol in the pagoda. It’s a healthy dispute. I like his music too, it will be part of my Carnival repertoire. But I think the new generation should also have the opportunity to move forward. With faith in God, it will be the carnival song ‘Deixa Eu Botar Meu Boneco’. The favela embraced, the general embraced. We are going up, we will take this award there to represent Salvador and Bahia abroad.

The Forbidden Pagoda is a very strong beat in Salvador, but more confined to the walls, on the outskirts of Salvador. Polly’s Samba and Let Me Put My Boneco managed to pull it off. Why are these songs able to break this barrier now?

We have created two versions: one for the wall and one more light pras [sic] radio and TV, that’s that [sic] run there. And I also think the song isn’t heavy, the chorus isn’t heavy. People interpret what “let my doll lay” means in different ways, so that’s what takes away from the music and everyone enjoys it. It must have a double meaning. It is necessary to have this cleanliness, because then you hear the children, the elderly.

A few years ago we had a huge controversy about “forbidden” music, which resulted in the creation of the anti-basage law in Bahia. Is there a difference between the content of Prohibitão now songs and those that generated all this movement?

We have evolved in some things. I sing what people ask for, I sing about reality, what people say in the daily life of the favela. I do what is forbidden, but, as I said, we are [sic] working version lightthe clean version, to get on radio and TV.

Where does the inspiration for the lyrics come from?

I’m always at home creating, I listen to trap, I listen to funk, and then it comes out, I keep creating.

Speaking of carnival, it’s your first year going out. How is the expectation?

The wait is up there, a lot of anxiety, working hard, wanting it to come early, to be able to put on a great show, with the updated repertoire. And win, right? Which is the most important thing. And finish it right, calm, at peace, with God ahead.

You already said that you don’t like going out to Carnival to enjoy it. Why?

I witnessed a lot of violence while working with my uncle in Barra. Then, I was obsessed with enjoying it. I had friends who would have liked it, but I didn’t. I went to work, sell beer, that sort of thing. I worked when I was 13, 14. Until I was 15, 16 I continued to work, also starting my career little by little.

Are you already planning to release more songs or will you enjoy the success of ‘Deixa Eu Botar Meu Boneco’?

After Carnival, I will continue to enjoy the music of ‘Boneco’, which is a strong song, which I know will not die now. But new music will come, releases, and it will come business. Now I’m putting my voice in a remix with Glória Groove, which should come out after Carnaval.

Source: Terra

Earl

Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.