Waly Salomão

Waly Salomão released his first book, Me personally Segura Qu’Eu Vou Dar Um Troço, in 1972, like a protest against the Brazilian dictatorship. A cut-and-paste of fragments, a puzzle that unites the erudite and the favorite, the open up aggressiveness from the journalistic statement of crimes as well as the concealed aggressiveness of the state texts, it had been defined by the writer as “a realism de la rivage.” The publication had been created during a amount of imprisonment, and its own layout was carried out by his friend the visible designer Hélio Oiticica (a simple number for the esthetics of Tropicália). Salomão would also later on create the biography of Oiticica, Qual É o Parangolé. Affected from the Tropicalista motion of 1967-1968, and obviously distinguished from your marginal literature carried out at that period, Salomão, beside me Segura, wished to be in, not really out, of the machine of cultural creation. A collaborator with many artists identified using the Tropicalista motion, like Torquato Neto, Gal Costa, Maria Bethânia, Caetano Veloso, Gilberto Gil, and Jards Macalé, like a lyricist he published tunes with Veloso, Gil, Macalé, Moraes Moreira, as well as others, but he by no means required upon himself the Tropicalista label. In 1973, Salomão participated in the business and posting of Operating-system Últimos Dias de Paupéria, a compilation of content articles from the poet and friend Torquato Neto, who passed away in 1972. As well as Neto, Salomão founded the Navilouca poetry publication, which had only 1 concern but became mainly important. Also a publisher, Salomão created reactions to movie theater, videotape, and pictures, using the Babilaques series (recognized with Marta Braga). About him stated Glauber Rocha, the genius from the Movie theater Novo: “I believe that Waly Salomão may be the matrix from the Bahian poetry from the Tropicalismo. The poetry of Gil, Veloso, was drunk from the foundation known as Waly Salomão.” With Veloso, Salomão published “Mel” and “Talismã.” The tunes became the game titles from the albums documented by Maria Bethânia in 1979 (over one-million copies marketed) and 1980. “Anjo Exterminado” (created with Macalé) became the name of another recording by Bethânia, in 1972. Salomão also published “Mal Secreto” (with Macalé), the Paralamas perform Sucesso strike “Assaltaram a Gramática” (with Lulu Santos), “Balada de um Vagabundo” (with Frejat, documented by Cazuza), “Pista de Dança” (with Adriana Calcanhoto, documented by Calcanhoto on Marítimo), and “Vapor Barato” (with Jards Macalé, created in 1968 and documented by Gal Costa on her behalf Fa-tal in 1972; a display from the same name was also aimed by Salomão, as well as the music had success once again in 1995 within the soundtrack from the film Terra Estrangeira).