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Monsueto’s profession had 2 times: he began to be successful in the first ’50s with tracks like “Me personally Deixa em Paz,” “Mora na Filosofia,” “Mulher de Mau Pensar,” and “A Fonte Secou,” recorded by performers want Linda Batista and Marlene. In 1966, Maria Bethânia documented “Mora na Filosofia,” accompanied by Caetano Veloso, who also documented it in 1971, having documented “European union Quero Essa Mulher Assim Mesmo” in 1973 and yielding another amount of recognition for Monsueto among children. In 1972, Milton Nascimento, as well as Alaíde Costa, documented “Me Deixa em Paz,” and with Martinho da Vila and MPB-4 he also documented many of his tracks. Monsueto also worked well as an acting professional and vocalist in movies like 13 Cadeiras (with Oscarito in 1957) and Na Corda Bamba (1958), having got tracks contained in the movies O Cantor Milionário and Quem Roubou meu Samba? Along with his have group, Monsueto performed throughout many countries of Latin and THE UNITED STATES, European countries, and Africa. He also was extremely popular as the Comandante from the humor Television show Noites Cariocas after 1959. Also a painter thinking about a sociable thematic, he previously one of is own pieces granted in the nationwide exhibition Salão Nacional de Belas-Artes (Rio de Janeiro, 1972). At 15, Monsueto began to take part frequently in the drum portion of samba universities, having frequented many of them during his whole, life not deciding on anybody in special. 2 yrs later on, he was employed in gafieiras and nightclubs like a drummer, having been an associate from the Orquestra de Copinha. Implementing a petit bourgeois profile as owner of the laundry in the working-class suburb of Vieira Fazenda (Rio de Janeiro), Monsueto under no circumstances abandoned music, constantly frequenting the performers’ meeting factors. In the Carnival of 1952, he previously his first strike with “Me Deixa em Paz” (with Airton Amorim), documented by Linda Batista. Found out as a significant audience, he previously other successes: “A Fonte Secou” (with Tufi Lauar/Marcleo), documented by Raul Moreno for the Carnival of 1954; within the next year’s Carnaval, Marlene documented “Mora na Filosofia” (with Arnaldo Passos).

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