Capitão Furtado

Lyricist of 350 recorded music, Capitão Furtado had his music recorded by himself and famous brands Orlando Silva (“E O Vento Levou”), Gilberto Alves (“Linda Flor Que Morreu”), Abel Ferreira (idem), Titulares carry out Ritmo, Alvarenga e Ranchinho, Sílvio Caldas, Francisco Magno, and Roberto Fioravanti. Also a humorist, Furtado proved helpful in the movie theater and in radio aswell. As an extremely popular web host of radio displays he presented several artists that might be well-known, like Tonico e Tinoco and Mário Zan, to his viewers. His march “Mulatinha de Caserna” was officially followed by São Paulo’s mayoralty as the hymn from the Carnival of this town in 1966. Nephew of Cornélio Pires, Capitão Furtado started in 1928 as Wallace Downey’s secretary (at that time, movie director of Columbia in Brazil). In 1929 he began to perform comic functions in radio has and composed his first tune, “Coração” (with music by Marcelo Tupinambá), that was later contained in Vitório Capelaro’s film Fazendo Fita (1935), where Furtado proved helpful as artistic planner. He was the main one in charge of the invitation from the duo Alvarenga e Ranchinho to function in the film, after having been familiar with them in the film Coisas Nossas (1931), where he was a creation associate. In 1934 he opened up the highly effective show Cascatinha perform Genaro in the Rádio Cruzeiro perform Sul, which experienced great acts such as for example Nhá Zefa. Furtado wrote the lyrics for the satirical moda-de-viola “Itália e Abissínia” that was documented by Nhá Zefa, however the documenting couldn’t turn out because of contractual reasons. Determining that Alvarenga e Ranchinho (who penned another melody for this) should record the track, the trio found Rio de Janeiro in March 15, 1936, and was employed in the same day time as the Trinca perform Bom Humor throughout a trip to the Rádio Tupi. Within the next day time the duo documented “Itália e Abissínia” at Odeon, accompanied by additional collective works together with Furtado, like “Lição de Geografia,” “Caboclo Viajado,” “A Moda perform Beijo,” “Baixa perform Café,” “Chalet Furtado,” “Circuito da Gávea,” “Futebol,” “Meu Coração,” “Repartindo um Boi,” as well as others, recordings where Furtado generally declaimed or spoke something, becoming the first ever to do this in Brazil. Even though Furtado came back to São Paulo in 1939 after also operating at Rádio Nacional, this fertile and effective collaboration lasted until 1940. Having offered his praised publication of comic tales, Lá Vem Mentira (1937), when Furtado came back to São Paulo he had been regarded as the “biggest caipira (hillbilly) humorist of Brazil.” In his display Arraial da Curva Torta, offered for 12 years in the Rádio Difusora, he launched the artistic profession performers that might be popular, like Hebe Camargo, Mário Zan, Blecaute and Tonico e Tinoco (he’d also request the soon-to-be popular sertanejo duo for his or her first recording in 1944). Furtado proved helpful in several r / c until he devoted himself to market popular contests of viola players throughout Brazil, that presented to fame many new music artists. From 1967 to 1977 he also proved helpful as researcher of caipira music.