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Alberto Ribeiro

Among the great composers of Carnaval music and something of the very most prolific types, Alberto Ribeiro also still left samba-canção classics want “Copacabana” as well as the standards from the São João repertory — “O Balão Vai Subindo” and “Capelinha de Melão.” Socially worried, his songs triggered him to become arrested many times during the Obtainúlio Vargas dictatorship. These were also a respected influence within the formulation from the protest track (canção de protesto) motion from the ’60s once they were contained in the poet Reynaldo Jardim’s display Joana em Flor in the Teatro de Industry theatre in Rio in 1965. Ribeiro began to create Carnaval music for his bloco Só de Tanga. His 1st published structure was “Água de Coco,” in 1923. Seven years later on he created the Grupo dos Enfezados group, which documented an album within the same 12 months. In 1934 Ribeiro accomplished achievement with “Tipo Sete” (with Nássara), documented by Francisco Alves, earning the Carnaval competition from the mayoralty for the reason that 12 months. Introduced to Braguinha another 12 months from the publisher Mangione, who asked them to create the soundtrack towards the film Alô, Alô Brasil! (aimed by Wallace Downey), Ribeiro became an excellent friend of his. Their historical partnership began using the marchinha “Deixa a Lua Sossegada,” documented by Almirante. They published scripts for additional movies like Estudantes (1935, by Wallace Downey) and Alô, Alô Carnaval! (1936, by Adhemar Gonzaga). Also in 1935 Ribeiro’s marcha junina “Sonho de Papel,” contained in the soundtrack towards the film Estudantes, was popular in Carmen Miranda’s documenting. In 1936 the duo of Ribeiro/Braguinha created the choro “Seu Libório,” which would just be documented in 1941, when Vassourinha obtained popular with it. Ribeiro experienced achievement in 1937 with “Cachorro Vira-Lata,” documented by Carmen Miranda; in 1938 using the marchinha “Yes! Nós Temos Bananas” (with Braguinha) documented by Almirante (and re-recorded by Caetano Veloso in 1967); and “Touradas em Madrid” (with Braguinha), documented on a single recording by Almirante. This tune was sung by about 200,000 people through the Globe Glass of 1950, when Brazil received the overall game with Spain by six to 1. The duo experienced success once again in 1943 using the marchinha “China Pau,” documented by Castro Barbosa, and 3 years later on with “Copacabana,” a large hit extremely well-known overseas in Dick Farney’s rendition; in 1948 using the marchinha “Tem Gato na Tuba,” documented by Nuno Roland; in 1949, using the marchinha “Chiquita Bacana,” documented by Emilinha Borba (this track was many times re-recorded overseas, using the best-known edition Josephine Baker’s “Chiquita Madame de la Martinique”). In 1956, Ribeiro documented the LP Aviso Aos Navegantes, with compositions created within the years of 1930 and 1940, an interval where he was imprisoned many times for the politics articles of his music.

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