Heitor dos Prazeres

Heitor dos Prazeres wrote common sambas and was also regarded as one of the better primitivist painters of Brazil. He was also among the creators from the Carioca samba college movement, founding many of them. As well as Rubem Barcelos, Alcebíades Barcelos (Bide), and Newton Bastos, he founded the initial samba college ever to hire that denomination, the Escola de Samba Deixa Falar (Estácio), in 1928, as well as the União perform Estácio in the same season. Some weeks afterwards, he co-founded the Portela as well as the Estação Primeira de Mangueira. Kid of a military services musician, Prazeres discovered the cavaquinho by himself at age group seven. At 14, he was a normal in the rodas de choro (choro get-togethers) and in the seminal samba redoubt, the Tia Ciata’s home, being consecrated being a master from the device. Later he’d add the banjo to his handbag of abilities. His initial compositions may also be from 1912: “Ô Limoeiro, Limão” and “Adeus, Oculó.” In 1927, he gained a samba competition promoted with a Carioca paper with “A Tristeza Me Persegue” (released a long time after in the Fermata 1970 LP Portela, Passado de Glória). In the same season, Francisco Alves documented “Ora Vejam Só” and “Cassino Maxixe” (the initial edition of “Gosto Que Me Enrosco”). The music acquired the authorship related to Sinhô, which yielded a dispute between your two composers, as Heitor stated the songs to become his, just with minor adjustments by Sinhô. For the reason that event, Sinhô shipped his famous declaration, that “sambas are like wild birds, they are possessed with the types who consider them.” The affair also yielded two sambas, “Segura O Boi” (Sinhô) and “Olha Ele, Cuidado” (Heitor dos Prazeres). In 1929, a fresh clash with Sinhô: Mário Reis documented “Gosto Que Me Enrosco” in its definitive edition and title, once again with authorship by Sinhô. Heitor after that composed the “Rei Dos Meus Sambas” in retaliation. “Deixaste Meu Lar” (with just Francisco Alves’s name in the record) implemented, documented by Mário Reis and re-recorded by Alves in 1930. After that emerged the masterpiece “Mulher de Malandro” (which gained the first formal Carnival competition in 1932, with Francisco Alves’s documenting). Among his many compositions, “Estás Farta de Falar da Minha Vida,” “Canção perform Jornaleiro,” “Pierrô Apaixonado” (with Noel Rosa, documented with great achievement by Joel e Gaúcho in 1936, through Victor), “Lá em Mangueira” (with Herivelto Martins, documented with the Trio de Ouro in 1943), and “Sou European union Quem Dou As Ordens” are worthy of point out. But Prazeres also was a expert of painting and in 1951, he required component in São Paulo’s I Bienal de Arte. He also exhibited in the 1953 and 1961 Biennials. In 1966, he displayed Brazil being a painter in the Dark Arts Celebration of Dakar, Senegal. His designs will be the lives from the Carioca malandros, mulatas, and workmen. In 1931, Prazeres still left the samba institutions and became a member of Rádio Educadora, shortly accompanied by radios Sociedade, Clube, and Philips, where he proved helpful in the well-known Programa Casé. He produced a lady choir to accompany him and performed beneath the denomination Heitor e Sua Gente. In 1933, his “Canção perform Jornaleiro” was documented with great achievement with the youngster Jonas Tinoco. As a normal person in the cast from the Rádio Nacional, he was a percussion participant. In 1941, he participated in the seminal radio plan A Voz perform Morro, on the Rádio Cruzeiro perform Sul, with Cartola and Paulo da Portela. In the next season, as Grupo Carioca, the three of these performed in São Paulo. Heitor dos Prazeres still left a lot more than 129 recorded music.